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车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,25,26,59,29,28,61,62,63,64,89,90,91,7,67,92,36,93,94,32,95,96,71,97,35,74,98],"船","马","牛","店铺","城墙","车","码头","货船","商贩","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米",[42,103],"水墨画精选",8462,106,{"id":107,"slug":108,"title":109,"dynasty":54,"author":110,"museum":111,"description":112,"tags":113,"thumbUrl":121,"material":122,"size":123,"collection":124,"collections":125,"showCount":126,"zanCount":127,"manualWeight":48,"mainColor":128},214638,"wu-zhong-shan-shui-juan-shen-zhou-214638","吴中山水卷","沈周","上海博物馆","画家画的是他家乡苏州的山水景象，山水构图平远，波光粼粼，山峦郁郁葱葱，被行人的小船打断了。图像没有任何标记，背面纸上有沈周写的长诗。",[23,24,25,26,114,28,30,63,64,115,116,7,117,35,118,119,120],"水墨","孤舟","亭","山石","皴法","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1fc32edd6049d9d044095077d4fe271.jpg","纸本,设色","31.6x348","山水画精选",[124],7463,45,"BDBDBD",{"id":130,"slug":131,"title":132,"dynasty":133,"author":134,"museum":135,"description":136,"tags":137,"thumbUrl":139,"material":140,"size":141,"collection":124,"collections":142,"showCount":143,"zanCount":144,"manualWeight":48,"mainColor":128},220765,"fu-chun-shan-ju-tu-sheng-shan-tu-huang-gong-wang-220765","富春山居图-剩山图","元","黄公望","浙江省博物馆","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,24,25,26,114,118,30,7,31,32,138],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a787b3411565c7d5dc5dd29005c0c6.jpg","绢本","横51.4公分，高31.8公分",[124,45],6110,22,{"id":146,"slug":147,"title":148,"dynasty":54,"author":55,"museum":149,"description":150,"tags":151,"thumbUrl":157,"material":158,"size":159,"collection":124,"collections":160,"showCount":161,"zanCount":162,"manualWeight":48,"mainColor":49},222209,"tao-hua-yuan-tu-quan-juan-chou-ying-222209","桃花源图全卷","美国波士顿博物馆","此大青绿山水《桃花源图》卷是明代画家仇英的作品。画作题材取自东晋诗人陶渊明所作《桃花源记》，描绘了文人理想中的隐居之乐，画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。此卷现藏于美国波士顿美术馆。\n桃源文化悠久绵长，不仅唐宋元时期都有相关诗文创作，而且李昭道、荆浩、关仝、郭熙、李唐、马和之、赵伯驹、伯骕、刘松年、赵孟頫、钱选、王蒙等人也都有桃源图流传，内容形式不尽相同，而且大部分已经遗失。至明代，桃源图再次流行兴盛，究其原因除了政治动荡引起的避世心理，主要是源于明人对自我觉醒和精神超越的思考与追问。\n存世的约三十六幅桃源图中有十余幅出自仇英之手，文征明之子文嘉的《钤山堂书画记》也证实了明代桃源题材绘画风潮确实肇始于仇英。这幅画卷以武陵渔夫的行踪为主线，贯穿全篇，画中绘有四十多个人物，他们形态各异、表情丰富，惟妙惟肖。其中有划船的渔夫、打柴的樵夫、扛锄的农夫、聊天的村民，每个人都快乐地做着自己的事情，怡然自得，展现出田园生活的无限乐趣。画中山水和人物完美结合，浑然一体，营造出景致优美、悠闲自得的人间仙境。\n第一段：由卷首至山洞口。起首处双松乔立，河流两岸，桃花落英缤纷，崇山连绵起伏，白云冉冉升起，河流尽头处，为岸边的一处洞穴，洞前停一舟，洞中见一人，即为武陵渔夫。\n第二段：山洞口之后到山顶凉亭。过此洞仍见一水流，水上有一艘捕鱼的小舟，画面到这里突然变得开阔敞亮了，这里土地平坦开阔，河岸上，稻田、人物往来其间，远山白云横锁缭绕。\n第三段：山顶凉亭之后到双层大宅院之前。在山林密荫处，可以看到这位外来的武陵渔夫与村中人会面、村人闻讯前来的情景。\n第四段：一双层大宅院到宴客所。其间可见乡人愉悦地往来于路途，男女的穿戴完全像桃花源以外的世人。老人和小孩都悠闲愉快，自得其乐的样子。\n第五段：宴客所之后到卷尾。画山石密林，崇山溪涧，武陵渔夫独自眺望。\n己未岁题赵伯驹桃源图，有云山春霭钞锣溪之句。越四十年，己亥题仇英桃源图，复用钞锣溪字，因失记数典以询内廷翰臣，自于敏中以下竟无知此事者。检之十余年，迄莫能得。每往来胸次，顷几暇偶阅旧刻元人所编陶靖节集《桃花源记》汤汉注中，始知本于桃源经，恍如重入仙源，顿逢旧迹，亦一快事。且知学问之道无穷尽也。仇英此卷即蓝本伯驹，笔意超秀，颇能神似，洵为合作，即书卷短，以识赏遇。（戊申小春御笔）\n锣溪接武陵源，峡口通人宛见村。望去陌阡鸡犬富，迎来老幼笑言温，传神别致超凡品。避世高情足静论，粉本问从谁所得，伯驹真迹石渠存。（已亥暮春御題）",[23,152,24,25,26,27,28,29,118,153,30,154,61,62,63,64,115,116,7,155,156],"名画","印章","桃花","田园","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda1313fc94acb487839607902fcd9974.jpg","纸本重彩","33.0cm 472cm",[124,45],5479,37,{"id":164,"slug":165,"title":166,"dynasty":54,"author":55,"museum":167,"description":168,"tags":169,"thumbUrl":176,"material":177,"size":178,"collection":179,"collections":180,"showCount":181,"zanCount":182,"manualWeight":48,"mainColor":128},228451,"han-gong-chun-xiao-tu-quan-juan-chou-ying-228451","汉宫春晓图全卷","台北故宫博物院","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,24,25,26,29,28,59,61,170,62,70,7,117,171,172,173,174,175],"美人","花鸟","孔雀","栏杆","屏风","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd722d077e75673c4e2d4185ed0fe78d.jpg","绢","纵30.6cm，横574.1cm","",[],4769,63,{"id":184,"slug":185,"title":186,"dynasty":133,"author":134,"museum":167,"description":187,"tags":188,"thumbUrl":189,"material":78,"size":190,"collection":124,"collections":191,"showCount":192,"zanCount":193,"manualWeight":48,"mainColor":128},218995,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-218995","富春山居图-无用师卷","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,24,25,26,114,118,30,7,117,64,115,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c3aaea3b2aafed20e97198b6d6d088.jpg","横636.9公分，高33公分",[124],3513,21,{"id":195,"slug":196,"title":197,"dynasty":18,"author":198,"museum":167,"description":199,"tags":200,"thumbUrl":214,"material":140,"size":215,"collection":42,"collections":216,"showCount":217,"zanCount":218,"manualWeight":48,"mainColor":49},221389,"xi-shan-xing-lv-tu-fan-kuan-221389","溪山行旅图","范宽","该画作描绘的是典型的北国景色，树叶间有“范宽”二字题款。图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。山阴道中，从右至左行来一队旅客，四头骡马载着货物正艰难地跋涉着。",[23,24,201,202,118,203,30,117,204,7,205,206,63,37,207,208,209,210,211,212,213],"水墨画","立轴","雨点皴","瀑布","行旅","溪流","山路","驮队","雾气","巨峰","丛林","涧水","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7fc9271bce677ed74b29dfb9421e4d.jpg","纵206.3厘米，横103.3厘米",[42,124,103],2630,15,{"id":220,"slug":221,"title":222,"dynasty":223,"author":224,"museum":225,"description":226,"tags":227,"thumbUrl":229,"material":230,"size":231,"collection":124,"collections":232,"showCount":233,"zanCount":234,"manualWeight":48,"mainColor":128},222671,"tao-hua-yuan-tu-huang-shen-222671","桃花源图","清","黄慎","安徽省博物馆","内容乃据晋代陶渊明（365年～427年）文记《桃花源》之意绘制：开卷水天浩渺，烟笼沙洲。空中云积层岩，绝壁苍藤盘结。山麓碎石堆积成岗，延至奔溪冲折的山坳。洞口篷船空陈，艄公弃舟入洞。继而豁然开朗，进入桃花仙界：只见断岩亘空，桃林夹立。山谷幽深，水帘披挂。越过绵延起伏的山峦，于山角屏壁之后隐现桃源村落。村口札栅栏木门，有黄狗护院看守。村内环境幽雅，屋宇整洁，亭阁耸立，大道平坦。鸡犬呜跳嬉戏，幼童倚门张望。行人驻足寒暄，村民各司其事。妇女洒扫庭厨，牧童村外放牛。林后村舍相属，村外阡陌纵横。远处石桥如虹，通向无垠野地。村口场基之上，部分村民纷涌而至，前来迎接不速之客～捕渔翁。作者通过赞颂的笔调对传说中世外桃源美景进行理想化的描绘，从而寄托了自己不耐人间烟火、向往逃俗离垢的厌世情结。\n图后另纸附作者草书节录《桃花源记》及作者自撰五言诗一段：“……赢氏乱天纪，贤者避其世。黄绮之南山，伊人亦云逝。往迹浸复湮，来径遂芜废。相命肆农耕，日人从所憩，桑竹垂余阴，菽稷随时艺春蚕取长丝，秩熟靡王税，荒路暖交通，鸡犬亘鸣犬。俎豆犹古法，衣裳无以制，音孺纵行歌，班白观游诣，草荣识节和，木衰知风励。虽无纪历志，四时自成岁。怡然有馀乐，于何劳智慧，奇踪隐五百，一朝敝神界，凉薄既异源，旋复还幽蔽。借问游方士，焉测尘嚣外。愿言蹑轻风，高举寻吾契。乾隆甲申冬月镓，黄慎。”\n此图打破了传统人物画代代相承的铁线、兰叶、行云流水等“十人描法”限制而汲取南宁梁楷阔笔写意和明初渐派水墨人物草廊疾写的技法，结合坚实的运笔根度和写真基础，完全从塑造客观对象、具体特征的需要上出发，灵活地运用各种描法及草书的笔意趣味，下笔或渺如鸿毛飘落，或重似泰山坠石，时而中锋勾写、精刻细划，时而侧笔拖扫、意到笔略。描绘人物则造型轩昂，体态准确详写神略写貌、垂与意略写形，达到神情兼备、谈谐含蓄的境界。如此在技法上既超越了前辈梁楷过于简逸的现实之感，也克服了浙派人物空疏草率的缺点，在气音上则避免了“有其形音不生，得其气位不稳”的画工之弊；一扫文人雅士冲和溱远、颓唐纤比的陋习，使中国人物画的现实主义传统得到了很好的发展。图中岩石的画法则有元代倪瓒横折带皴法而层次更显丰富豪迈。寓清代袁江之骷髅皱而愈加凝炼劲爽。树法四面有枝，出于李成而极尽变化展姿，造型奇崛郁勃，精神发越外拓。作为衬景的山水，虚实远近安排有序、屋舍舟桥精工细写，比例视赏合理，令观者有身临其境之感。全图气息纯朴鲜活，风格洒俊逸，线条粗简活脱，时现枯笔飞白。色彩明丽润泽，气息纯朴鲜活。仿佛一帖墨酣笔畅的抒情草书。体现了黄慎作为职业画家，在造型的真实感上所具有超越其他同代画家的成就，具有士气而兼作家之气。",[23,24,26,114,28,228,120,30,154,61,62,115,7],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6764b259026e1ccc2432d776735ad2.jpg","纸本设色","纵38厘米，横349厘米",[124,45],2497,26,{"id":236,"slug":237,"title":238,"dynasty":18,"author":239,"museum":167,"description":240,"tags":241,"thumbUrl":247,"material":177,"size":248,"collection":42,"collections":249,"showCount":250,"zanCount":251,"manualWeight":48,"mainColor":49},221288,"zao-chun-tu-guo-xi-221288","早春图","郭熙","《早春图》采全景式构图，上下留有天地，远、中、近景则巧妙地布置于“十字形”架构内。\n主山画于中轴上方，山石先以圆笔勾勒轮廓，中锋、侧锋并用，再于阴暗面以湿笔皴擦，层层淡墨反复地渲染，强化量体感，这种技法俗称“云头皴”、“卷云皴”、“乱云皴”或“鬼面皴”，能真实反映沉积岩地貌，也可使画面产生如云雾般变幻的效果，很适合描写初春乍暖还寒，淡冶如笑的山野景象。山腰部分则隐于烟岚中，如临深山幽壑，更显主峰雄伟气势，是为“高远”。\n树丛委以虚、实来营造前后距离，腰间右侧的亭台楼阁，此时环伺于水墨山水中，其下山涧瀑布流泉，与左侧缓坡谷地融雪化成的涓涓源水，蜿蜒地流向前方的江湾，显示水流绵长及山坳纵深。而中景左方是一片旷野河谷，虚渺的远山咫尺千里，是为“平远”，其间一行旅人正从曲涧栈道一端越过小桥，欲达彼岸。而观画者正是透过“S 形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[23,24,25,114,118,242,30,117,7,64,204,37,243,244,245,206,246],"三远法","山峦","岩石","苔点","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","纵158.3公分，横108.1公分",[42,124,103],2376,17,{"id":253,"slug":254,"title":255,"dynasty":133,"author":134,"museum":167,"description":136,"tags":256,"thumbUrl":257,"material":140,"size":258,"collection":124,"collections":259,"showCount":260,"zanCount":261,"manualWeight":48,"mainColor":128},220766,"fu-chun-shan-ju-tu-huang-gong-wang-220766","富春山居图",[23,24,26,25,114,118,30,64,115,7,117,119,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa873bf9c7d320f1bd285caf802d29cd8.jpg","画卷已经被火烧成一大一小两段，原卷首小段经过修补后称为“剩山图”，横51.4公分，高31.8公分，占原画1\u002F14，后段画幅较长，称为“无用师卷”，横636.9公分，高33公分，占原画12\u002F14",[124,103],2315,28,{"id":263,"slug":264,"title":265,"dynasty":54,"author":55,"museum":266,"description":267,"tags":268,"thumbUrl":278,"material":78,"size":279,"collection":44,"collections":280,"showCount":281,"zanCount":282,"manualWeight":48,"mainColor":49},216362,"xi-xiang-ji-tu-ye-chou-ying-216362","西厢记图页","美国弗利尔美术馆","清人绘，款仇英",[24,29,28,59,61,70,7,269,173,270,271,272,69,273,274,275,276,277],"芭蕉","石桌","藤蔓","假山石","仕女","文人","屋顶","围墙","石台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73073efbf2fef3fc9d47804d1d4a0e8.jpg","18.5*38",[44,45],2008,11,{"id":284,"slug":285,"title":286,"dynasty":54,"author":110,"museum":20,"description":287,"tags":288,"thumbUrl":290,"material":122,"size":291,"collection":124,"collections":292,"showCount":293,"zanCount":282,"manualWeight":48,"mainColor":128},219219,"fang-huang-gong-wang-fu-chun-shan-ju-tu-juan-shen-zhou-219219","仿黄公望富春山居图卷","此图为沈周背临黄公望《富春山居图》之作。图中坡岗起伏，景物幽美，布局开合有度，用笔方圆兼备，刚柔并济，结合了披麻皴法与矾头皴法，对原作的临摹达到了形神兼似的境界，而笔力间又体现出沈周自己个人的特色。黄公望《富春山居图》后被焚毁作两段，分别辗转流传，今前一段藏于浙江省博物馆，后一段藏于台北故宫博物院。沈周此幅临作基本上保留了原作被毁以前的面貌，故这幅作品除具备本身的艺术价值之外，还带有重现黄氏原作的重要意义。尾纸有姚绶、董其昌、吴宽、文彭、周天球、谢凇洲诸家题跋。",[23,24,25,26,114,118,60,119,120,153,30,289,7,64,243,37,115],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1efe58b722df64f77e022a8a8fc2de6.jpg","纵36.8厘米，横855厘米",[124],1987,{"id":295,"slug":296,"title":297,"dynasty":18,"author":298,"museum":299,"description":300,"tags":301,"thumbUrl":302,"material":303,"size":304,"collection":124,"collections":305,"showCount":306,"zanCount":307,"manualWeight":48,"mainColor":128},214316,"mo-tang-dai-lu-hong-cao-tang-shi-zhi-tu-li-gong-lin-214316","摹唐代卢鸿草堂十志图","李公麟","日本大阪市立美术馆","这两幅画在构图、风格和笔触上都有密切的联系，但人物的比例缩小了，放在更合理的自然空间里，而山水、树木和岩石的表现则更符合宋（或金）代的风格，在一定程度上反映了李公麟对卢鸿原作的临摹所产生的不同面貌。虽然这三幅画的具体临摹时间和具体制作时间还有待学者们进一步研究，但《草堂西施图》无疑在中国绘画史上占有很高的重要地位，因为它是中国文人隐居生活的经典形象，历来被人观赏、模仿和解读。大阪藏品的制作时间可能早于上述紫禁城画卷，晚于台北画卷，因为它与辽宁省博物馆收藏的北宋张继的《白莲社》画作比较接近。",[23,24,26,114,60,118,119,153,30,7,117,204,206,61,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbccf5a7742967237a6a52cd2eb0fe914.jpg","纸本,水墨","30.3x867.2",[124],1944,14,{"id":309,"slug":310,"title":311,"dynasty":18,"author":312,"museum":167,"description":313,"tags":314,"thumbUrl":315,"material":316,"size":317,"collection":42,"collections":318,"showCount":319,"zanCount":320,"manualWeight":48,"mainColor":128},221509,"xi-shan-qing-yuan-tu-xia-gui-221509","溪山清远图","夏圭","《溪山清远图》描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地",[23,152,24,25,26,114,118,30,117,7,63,64,115,156,116,37,206,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[42,124,103],1772,19,{"id":322,"slug":323,"title":324,"dynasty":223,"author":325,"museum":20,"description":326,"tags":327,"thumbUrl":329,"material":40,"size":330,"collection":331,"collections":332,"showCount":333,"zanCount":307,"manualWeight":48,"mainColor":49},222795,"yong-zheng-shi-er-yue-ling-yuan-ming-yuan-xing-le-tu-zhi-san-yue-shang-tao-lang-shi-ning-222795","雍正十二月令圆明园行乐图之三月赏桃","郎世宁","雍正十二月行乐图轴是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季12个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。从描绘的景物判断，表现的对象应为圆明园。画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这12幅行乐图展现了其在圆明园生活的各个场景，也表现了12个月的不同节令风俗。\n该幅为其中的三月赏桃",[23,24,28,29,59,61,62,30,154,7,328],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feca8fa167788554a7fc5800090ce37.jpg","纵188.2厘米，横102.2厘米","花鸟画精选",[331,45],1764,{"id":335,"slug":336,"title":337,"dynasty":133,"author":338,"museum":20,"description":339,"tags":340,"thumbUrl":346,"material":40,"size":347,"collection":124,"collections":348,"showCount":349,"zanCount":350,"manualWeight":48,"mainColor":49},221795,"chun-shan-tu-juan-shang-qi-221795","春山图卷","商琦","署款“曹南商琦德符”。鉴藏印钤清乾隆、嘉庆、宣统诸帝玺，共计8方。\n此图是商琦唯一存世的署款之作。远景峰峦叠翠，烟笼雾罩；近景丛林杂树，着春染绿；远景、近景之间衬以沙碛古桥，更添空阔苍茫之势。图中所绘物象众多，展现了作者较为全面的技法和营势造型的能力。近景山石刻画细致，先以浓墨勾轮廓，然后以汁绿晕染石面，既显示出岩石的纹理结构，更洋溢出山川间的一派春意。远景群峰则以浓淡墨或花青晕染为主，浑莽一片的山峦为全画烘托出雄伟壮阔的气势。点景树木皆苍郁深秀，但表现笔法富于变化，其近树以干、湿笔双勾树干和树叶，画法工整，近似于南宋院体绘画风格；远树或以侧锋横点，或以中锋竖点，只具树貌不具树形。近树、远树虽形态各异，但却共同装点出万物勃发、遍山染翠的春之景象。这是一幅形式美与意韵美高度统一的山水佳作。\n著录于清内府《石渠宝笈初编》。\n此卷原藏清宫内府，宣统年流入民间，解放后归国家文物局所有，后由文物局拨交故宫博物院。1958年，经由故宫博物院修复专家重新揭裱，令它恢复了旧貌。",[23,24,152,25,26,28,118,30,341,342,7,37,244,343,344,345],"山","水","远峰","近坡","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548dc4fc12cf23b6dda3d1f9b39b1d44.jpg","纵39.6厘米，横214.5厘米",[124,45],1751,16,{"id":352,"slug":353,"title":354,"dynasty":133,"author":355,"museum":111,"description":356,"tags":357,"thumbUrl":359,"material":360,"size":361,"collection":124,"collections":362,"showCount":363,"zanCount":350,"manualWeight":48,"mainColor":128},220824,"qing-bian-yin-ju-tu-wang-meng-220824","青卞隐居图","王蒙","《青卞隐居图》描绘画家故乡卞山苍茫景色，山上树木茂密苍郁，溪流回环，景色清幽，隐士行居其间。画法先以淡墨勾皴，而后施浓墨，再用焦墨皴擦，使得画面不迫不塞，元气淋漓，气势磅礴，创造了线繁点密、苍茫深厚的新风格。\n《青卞隐居图》主要描绘作者家乡吴兴的卞山景色。峰峦曲折盘桓，重叠峥嵘，气势雄奇秀拔。山间林木茂密，山径迂回，飞瀑高悬直注。山脚下有客曳杖而行，山坳深处茅庐数间，堂内一人抱膝倚床而坐。 有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[23,24,25,114,118,202,30,117,204,7,358,206,37,153,119,120],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纸本","纵141厘米，横42.2厘米",[124,103],1622,{"id":365,"slug":366,"title":367,"dynasty":54,"author":55,"museum":368,"description":369,"tags":370,"thumbUrl":372,"material":373,"size":374,"collection":124,"collections":375,"showCount":376,"zanCount":218,"manualWeight":48,"mainColor":49},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","天津博物馆","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[23,24,25,202,27,28,29,30,61,62,63,7,117,37,69,38,243,206,371],"仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","绢本 设色","纵175厘米，横66.7厘米",[124,45],1533,{"id":378,"slug":379,"title":380,"dynasty":223,"author":381,"museum":382,"description":383,"tags":384,"thumbUrl":388,"material":122,"size":389,"collection":124,"collections":390,"showCount":391,"zanCount":392,"manualWeight":48,"mainColor":128},214892,"shan-shui-tu-ce-shi-tao-214892","山水图册","石涛","大英博物馆","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,114,118,385,30,62,7,386,387,153],"册","远岫","船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc4335799b8ab6338748c15eda11ad45.jpg","20.3x27.5cm",[124],1469,6,{"id":394,"slug":395,"title":396,"dynasty":54,"author":55,"museum":167,"description":397,"tags":398,"thumbUrl":400,"material":78,"size":401,"collection":124,"collections":402,"showCount":403,"zanCount":282,"manualWeight":48,"mainColor":49},216757,"shang-lin-tu-juan-chou-ying-216757","上林图卷","这卷书也在台北故宫，有一个类似的形象。它似乎比第一幅好，只是皴笔更简略一些",[23,24,25,26,27,28,29,59,30,61,62,7,32,399,117,38],"宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166b13b5b6a049210ce9da368f29e43b.jpg","44.8x1208",[124],1347,{"id":405,"slug":406,"title":407,"dynasty":223,"author":325,"museum":167,"description":408,"tags":409,"thumbUrl":414,"material":415,"size":416,"collection":331,"collections":417,"showCount":418,"zanCount":419,"manualWeight":48,"mainColor":49},222779,"bai-jun-tu-lang-shi-ning-222779","百骏图","《百骏图》是意大利籍清代宫廷画家郎世宁创作的绘画作品，是中国十大传世名画之一。此图稿本为纸质，原作分别收藏于美国纽约大都会博物馆（纸质稿本）和中国台北故宫博物院（绢本）\n此图共绘有100匹骏马，姿势各异，或立、或奔、或跪、或卧，可谓曲尽骏马之态。画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n此图为一长卷，从右至左，画面开始是两棵参天的老松树，透过松枝的空隙，露出了牧马人搭建的简易白色帐篷，有三个身穿满族服装的牧人在帐篷前，二人倦怠地或坐或卧，还有一人双手拄着套马杆立在那里，看着不远处的马匹，一只牧犬从帐篷内伸出了半个身子。\n近处是一匹浑身滚圆的白马悠然而立，旁边的两匹花马在低头啃草，由此引出了后面千姿百态的群马。在草地上，一群肥瘦不一的马匹各自在觅食、躺卧、翻滚嬉闹。\n远处群山连绵，草木丛生，一个牧马人正用套杆套一匹跑远的马，另一牧人则在赶拢跑散的八九匹小马驹，此处近景也是几棵盘根虬枝的古松，一大群不同花色的骏马或立或卧或昂首或低头，还有几匹在追逐打闹。\n画面中段，在一片树木坡石间又有一群马在休息，其中有一对母子，母马正看着在吃奶的小马驹，旁边一匹马正在古松上蹭痒，惹得一牧人扭头观看。\n画卷再向左侧展开是一片湖水，湖岸边芦苇郁郁葱葱，马匹则在水边嬉闹。湖中有一人正在为一花马擦洗，湖中倒影清晰可见。\n过了水面窄处而后湖水又逐渐开阔，湖滩的沙地上长满了芦苇和杂草，另有一小群马在一个骑马的牧人带领下，泅过不宽的水面到对面去。\n画面的结尾是一个手持套马杆的牧人。在画幅的左下角，署有画家名款：“雍正六年，岁次戊申仲春，臣郎世宁恭画。”画幅上钤乾隆印多方。\n此图描绘了姿态各异的骏马百匹放牧游息的场面，画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n《百骏图》长卷洋洋洒洒，塑造了一大群或站或卧、或翻滚嬉戏、或打斗觅食的骏马，它们聚散不一，自由、舒闲。画作中除了上百匹骏马之外，还有人物、山水、草木，无不精致写实，形象逼真，给予人们足够的空间，令人产生无边的遐想。同时花卉的形态和神态作者也通过西画的透视和光感等技巧表现出来，画得相当精细，立体感强。\n此画上，作者运用中国的毛笔、纸绢和色彩，却以欧洲的绘画方法注重于表现马匹的解剖结构、体积感和皮毛的质感，使得笔下的马匹形象造型准确、比例恰当、凹凸立体，而不像中国古代画\n家采用延绵遒劲的线条来勾勒物象轮廓的方法。他是以细密的短线，按照素描的画法，来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅，来表现马匹的凹凸肌肉，与传统中国绘画中的马匹形象迥然有别。以中国传统绘画技法加入西洋光影透视法及西画颜料，以显示中西趣味兼容并蓄的画面。如画中马匹、人物、树木、土坡皆应用了光的原理，使物象极富立体感；而如松针、树皮、草叶等的墨线勾勒，石块土坡的皴擦等仍含有中国传统手法，即使是马匹及树干上的阴影表现，亦是以中国传统的渲染方法来完成的。\n此画构图复杂，风格独特，极具意趣，别具一格。尽管全图包含了马匹、牧者、帐篷、树木等众多景物，但作者充分显示了其“虚实相间”的构图功力，画面由牧者引出，又以牧者结束，而作为主角的百匹骏马均在牧马人的引导控制之下活动。整幅画面聚散、稀疏的设置充满了节奏感。\n中国画是散点透视，西画是焦点透视。这种透视效果在这幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。注重形象的解剖结构、光影效果及立体感。并且，在此画上，作者将中国画法巧妙地与西法相融合，突破了明清时期大部分山水、花鸟画作品以水墨为主流的表现方法，另辟蹊径，创造了一种“中西合璧”的绘画新风格，具有开拓性的意义，对于中国传统绘画的发展产生了巨大的推动和冲击。",[23,29,28,26,410,90,7,32,411,61,412,30,413,206],"中西合璧","草地","帐篷","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b30b71123be3a26bafdc83b49d1c5e.jpg","绢本设色","纵102厘米，横813厘米",[331,45],1291,7,{"id":421,"slug":422,"title":197,"dynasty":18,"author":239,"museum":423,"description":424,"tags":425,"thumbUrl":427,"material":78,"size":179,"collection":124,"collections":428,"showCount":429,"zanCount":419,"manualWeight":48,"mainColor":49},218625,"xi-shan-xing-lv-tu-guo-xi-218625","私人收藏","画面层峦叠嶂，主峰巍峨耸立，次峰拱卫环绕，尽显山川雄浑气势。山石以卷云皴法勾勒，纹理如波似浪，赋予山体灵动质感，仿佛云气在岩间流转。山间路径蜿蜒，行旅队伍缓缓前行，或挑担或驱马，于溪畔林间留下鲜活身影。溪流潺潺，树木葱茏，屋舍点缀其间，既有自然野趣，又含人文暖意。笔墨刚劲中见细腻，墨色层次丰富，高远、深远、平远三远之法交织，使画面空间错落有致。观者仿佛可登山远眺层林尽染，可沿溪漫步听水声潺潺，于山水间体悟静谧与生机的交融，感受那份穿越时光的艺术魅力。",[152,24,25,26,28,118,114,30,117,7,64,115,61,426,62],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9968fd31d72f248e2d7e1d780f9d2aa4.jpg",[124],1280,{"id":431,"slug":432,"title":433,"dynasty":18,"author":434,"museum":20,"description":435,"tags":436,"thumbUrl":439,"material":78,"size":440,"collection":42,"collections":441,"showCount":442,"zanCount":443,"manualWeight":48,"mainColor":128},216772,"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","佚名","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,24,25,26,60,437,28,29,119,120,438,153,61,170,30,115,62,64,7],"白描","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8",[42],1270,10,{"id":445,"slug":446,"title":447,"dynasty":54,"author":55,"museum":167,"description":448,"tags":449,"thumbUrl":450,"material":78,"size":451,"collection":124,"collections":452,"showCount":453,"zanCount":454,"manualWeight":48,"mainColor":49},214746,"bao-hui-tang-chou-ying-214746","宝绘堂","这是王诜和苏轼欣赏书画的一个场景。画面以蓝色和绿色为基调，远处山峰高耸，山脚下桃花灼灼，不远处的房子里聚集着几个人，其中几个人正坐在桌前研究画卷。",[24,27,28,29,30,61,62,116,7,117],"https:\u002F\u002F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年齿大沈周十馀岁的刘珏（1410-1472）极爱周之画，每与珏晤面，不问“寒暑风雨日夜冗暇醒醉”，皆强之作画。据沈周於画上自题云，知此幅乃作于酒后，笔墨清朗率略，与细致疏秀的“崇山修竹”有同工之趣，二幅成画时间当甚接近，约于1470（成化庚寅）之际，时沈周四十四岁。 沈周不善饮，自谓平生于酒至痛饮处仅升许，而於六十五岁（弘治辛亥，1491）作〈老杯酒轩诗引〉中尝言之所以不戒酒者，“以其有醉之乡，处之可以佚吾老也。”三两小杯醺醺然为乐，益可增添画趣，周之不欲绝者当非无因。 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；故宫书画录（卷五），第三册，192页；故宫书画图录，第五册，117-118页 【名称】元朱叔重春塘柳色轴 【规格】该幅 4155.公分；全幅 59.7公分 【收藏】 这幅画描写池畔的村屋景象，一名文人手持柺杖，沿著小径，在青葱的田野间漫步。\n全画的用笔极为柔和，著色也温润清雅，充分表现出春天里大地润泽，嫩绿遍野，万物滋长的盎然生意。\n朱叔重，十四世纪人，籍贯江蘇吴县。\n他虽然是一名书生，但在绘画方面，也有卓越的成就，不过流传下来的作品很少。",[23,24,28,30,118,202,528,63,64,358,117,7,153],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387748e6b65cff9714687e9f4798f2.jpg","41x55.3厘米",[124,45],1069,{"id":534,"slug":535,"title":536,"dynasty":54,"author":537,"museum":167,"description":538,"tags":539,"thumbUrl":541,"material":122,"size":542,"collection":124,"collections":543,"showCount":544,"zanCount":545,"manualWeight":48,"mainColor":128},218464,"pin-cha-tu-wen-zheng-ming-218464","品茶图","文徵明","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[23,24,25,202,28,29,120,30,61,540,63,64,153,117,7],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","88.3x25.2cm",[124],1044,13,{"id":547,"slug":548,"title":549,"dynasty":18,"author":550,"museum":551,"description":552,"tags":553,"thumbUrl":554,"material":555,"size":556,"collection":44,"collections":557,"showCount":558,"zanCount":454,"manualWeight":48,"mainColor":49},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","李唐","美国克利夫兰艺术博物馆","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[23,152,24,25,26,114,28,118,30,61,62,63,64,7,116,155,35,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","绢本,水墨","34.6x566.4",[44],1013,{"id":560,"slug":561,"title":562,"dynasty":223,"author":434,"museum":167,"description":563,"tags":564,"thumbUrl":568,"material":78,"size":179,"collection":331,"collections":569,"showCount":570,"zanCount":218,"manualWeight":48,"mainColor":128},216218,"ke-si-hua-niao-zhou-yi-ming-216218","缂丝花鸟轴","缂丝花鸟轴是一件来自清朝的著名织物，它的特点是精细的缂丝织法，用细密的金丝或银丝织成花鸟图案。这种织物通常是用来装饰床单、枕头和窗帘的，也可以用作礼服的饰品。这种织物的制作需要高超的技艺，因此它们非常珍贵且价值高。",[565,566,24,202,28,29,171,7,117,567,156,289],"清代","缂丝","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb707e05f41a56d8bb90d7d98b005b201.jpg",[331],1010,{"id":572,"slug":573,"title":574,"dynasty":18,"author":575,"museum":20,"description":576,"tags":577,"thumbUrl":580,"material":40,"size":581,"collection":42,"collections":582,"showCount":583,"zanCount":584,"manualWeight":48,"mainColor":49},221538,"ta-ge-tu-zhou-ma-yuan-221538","踏歌图轴","马远","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[23,24,202,114,28,118,30,61,62,117,426,116,206,578,579,7],"枯藤","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","纵192.5厘米，横111厘米",[42,124,103],995,8,{"id":586,"slug":587,"title":588,"dynasty":54,"author":55,"museum":167,"description":589,"tags":590,"thumbUrl":593,"material":78,"size":178,"collection":44,"collections":594,"showCount":595,"zanCount":251,"manualWeight":48,"mainColor":128},219968,"han-gong-chun-xiao-tu-chou-ying-219968","汉宫春晓图","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。\n《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,24,25,26,29,28,59,61,170,62,289,156,7,591,173,592,174],"花卉","台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ef02bc84e372303950e1dc284071d3.jpg",[44],977,{"id":597,"slug":598,"title":599,"dynasty":54,"author":537,"museum":167,"description":600,"tags":601,"thumbUrl":602,"material":122,"size":603,"collection":44,"collections":604,"showCount":605,"zanCount":392,"manualWeight":48,"mainColor":128},214250,"shan-shui-tu-wen-zheng-ming-214250","山水图","画面上有一对夫妇坐在一个开放的亭子里，一个男孩拿着围巾站着，另一个男孩拿着门槛上的花瓶。在小屋的前后，竹子、松树和柳树被浓密的树荫包围。根据题词，这幅画似乎是对夏日家居生活的描写，而且画得非常好。",[23,24,25,385,114,28,29,118,7,579,578,117,61,116,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e62ddd3da73b17a21cd499e257c992.jpg","66.7x34.8",[44],964,{"id":607,"slug":608,"title":609,"dynasty":18,"author":550,"museum":167,"description":610,"tags":611,"thumbUrl":612,"material":140,"size":613,"collection":42,"collections":614,"showCount":615,"zanCount":443,"manualWeight":48,"mainColor":49},221574,"wan-he-song-feng-tu-li-tang-221574","万壑松风图","这幅画采取近观的“高远”表现法。近景为苍松石岸；中景为岗峦郁盘，穿插流泉悬瀑；远景的主峰突兀高耸，峰顶丛树密集，这三段景沿着画面的中轴线，由下往上堆栈，形成“高远”。画家藉由扩大前景，使画中的景物逼近观者，再将远景的主峰满塞画面，如一堵巨大的屏障，形成封闭的空间，让观者面对深幽的山谷，如临真景。",[152,24,25,202,118,114,28,30,540,117,204,7,244,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048d34f5c9c56804fbd20be818ef50e4.jpg","188.7×139.8公分",[42,124,103],912,{"id":617,"slug":618,"title":619,"dynasty":620,"author":621,"museum":167,"description":622,"tags":623,"thumbUrl":627,"material":140,"size":628,"collection":124,"collections":629,"showCount":630,"zanCount":631,"manualWeight":48,"mainColor":49},221175,"ba-da-you-chun-tu-zhao-nie-221175","八达游春图","五代十国","赵喦","《八达游春图》是五代·后梁画家赵喦创作的国画，此画绘有八骑人马欢呼游玩的景象，用色考究，笔墨精到，人物神态栩栩如生，可谓作者画作之精品。",[23,24,29,28,620,61,90,7,528,289,411,624,625,626],"围栏","鞍马","游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d033fc39e58455d7dde55b9f5c0f61.jpg","纵161厘米，横103厘米",[124,44,45],904,5,{"id":633,"slug":634,"title":635,"dynasty":133,"author":636,"museum":111,"description":637,"tags":638,"thumbUrl":640,"material":303,"size":641,"collection":124,"collections":642,"showCount":643,"zanCount":392,"manualWeight":48,"mainColor":128},214390,"yu-fu-tu-juan-wu-zhen-214390","渔父图卷","吴镇","这卷描绘了江南水乡的景象，地势辽阔，云山不分，水天一色。在苍茫的景象中，散落着十四个渔民快乐地来回操纵着他们的船，他们的动作各不相同，有的醉卧在夕阳下，有的独自在烟波中捕鱼，有的在网中捕鱼，有的在帐篷的窗户上听雨，丰富而生动。吴镇的技法成熟，墨色浓淡相宜，将精细的轮廓线与厚重的表现力结合起来，用阴沉的墨色和强烈的笔触，仅用有限的笔墨就描绘出长江以南广阔而混杂的风景。",[23,152,24,25,26,114,475,118,115,462,639,7,243,32,34,120,153],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd51c8d826dddc7c4be19c56c6b51be.jpg","33x651.6",[124],887,{"id":645,"slug":646,"title":255,"dynasty":223,"author":647,"museum":20,"description":648,"tags":649,"thumbUrl":650,"material":303,"size":651,"collection":124,"collections":652,"showCount":653,"zanCount":584,"manualWeight":48,"mainColor":128},218485,"fu-chun-shan-ju-tu-wang-yuan-qi-218485","王原祁","这幅画创作于康熙三十二年（1693年），52岁，仿照元代绘画大师黄公望的名作《富春山居图》的笔法。在这次模仿中，他从容不迫地运用了皴法、擦法和点法，特别是在用笔用墨方面，先用笔后用墨，染色由淡到浓逐渐增加，最后以焦墨破之，给人以沉重之感。",[23,24,114,118,119,153,30,64,7,117,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b9a0c62b860f5eddbc70949a88e933.jpg","98.8x60.1cm",[124],880,{"id":655,"slug":656,"title":657,"dynasty":54,"author":110,"museum":658,"description":659,"tags":660,"thumbUrl":662,"material":506,"size":663,"collection":124,"collections":664,"showCount":665,"zanCount":666,"manualWeight":48,"mainColor":128},222423,"su-shi-yan-jiang-die-zhang-tu-shen-zhou-222423","苏轼烟江叠嶂图","辽宁省博物馆","此幅图是根据赵孟頫的行书《苏轼题王诜烟江叠嶂诗》的诗意而作。图上山峦起伏，水天相连，云雾迷漫；近处山石屹立，树木成林，墨色浓重；人物三位，江中小舟一翁坐于舟尾垂钓，怡然自得。整幅图画笔老劲，构图简约，描绘了从远处观看山水美景的宏伟景象！",[23,24,114,26,118,30,115,7,37,117,204,500,661,61],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51c2b1ac770a01bb35e9d219451d74e.jpg","50*1165cm",[124,103],871,3,{"id":668,"slug":669,"title":670,"dynasty":18,"author":671,"museum":459,"description":672,"tags":673,"thumbUrl":677,"material":114,"size":678,"collection":124,"collections":679,"showCount":680,"zanCount":584,"manualWeight":48,"mainColor":49},218544,"yu-qi-nong-yan-tu-mi-fei-218544","雨气浓烟图","米芾","烟雨濛濛，墨色轻染山峦，云雾似纱般缠绕峰峦，远近层次在虚实间晕开。近处林木苍劲，几椽茅舍隐于树影，水面上一叶扁舟悠然，似载着湿意的风。米氏笔法写意传神，将雨气的氤氲、烟岚的缥缈凝于尺幅，于淡墨间见悠远之境，仿佛能嗅到湿润的草木气息，听山间细雨沙沙，心境也随之沉静旷达。",[24,26,114,118,30,500,674,37,32,675,676,138,243,7,63,119,153],"近树","小舟","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ca15d5c9196dbbf7ceb73083e5d937.jpg","40x438",[124,42],865,{"id":682,"slug":683,"title":684,"dynasty":18,"author":685,"museum":167,"description":686,"tags":687,"thumbUrl":696,"material":78,"size":697,"collection":44,"collections":698,"showCount":699,"zanCount":467,"manualWeight":48,"mainColor":49},214251,"wen-hui-tu-zhao-ji-214251","文会图","赵佶","文会图是宋代诗人赵佶的一幅代表作。这幅画作描绘了文会图的美丽风景。\n\n文会图位于宋代的江西省，是一座著名的风景名胜。它有着壮丽的山水景色，群山环绕，江河纵横。这里的山川秀美，让人流连忘返。\n\n在这幅画作中，赵佶巧妙地捕捉了文会图的美丽景色。他用浓墨重彩的画法，勾勒出了文会图的群山和江河。他还描绘了文会图周围的古迹和古建筑，让人感受到了宋代文化的博大精深。\n\n总之，文会图是一幅精美的画作，描绘了文会图的美丽风景。它让我们感受到了宋代诗人赵佶对自然的崇敬之情，也让我们感受到了宋代文化的魅力。",[23,24,25,28,29,61,7,70,688,689,690,274,691,119,692,693,175,694,695],"饮酒","桌椅","餐具","聚会","场景描绘","细致写实","园林","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9e09405eba855cbe3e826712631928.jpg","184.4x123.9",[44],862,{"id":701,"slug":702,"title":53,"dynasty":18,"author":86,"museum":20,"description":87,"tags":703,"thumbUrl":705,"material":415,"size":706,"collection":42,"collections":707,"showCount":708,"zanCount":392,"manualWeight":48,"mainColor":49},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[23,24,26,59,28,704,29,61,62,63,64,66,67,65,7,68,91,90,69,75,74,70,97,71],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","宽24.8厘米、长528.7厘米",[42,44,45],858,{"id":710,"slug":711,"title":712,"dynasty":18,"author":713,"museum":20,"description":714,"tags":715,"thumbUrl":716,"material":415,"size":717,"collection":42,"collections":718,"showCount":719,"zanCount":720,"manualWeight":48,"mainColor":49},221557,"qing-lv-shan-shui-chang-juan-liu-song-nian-221557","青绿山水长卷","刘松年","刘松年工山水人物，山水皴法受李唐影响， 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画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。山中的楼房里，有座香炉供奉着佛像。",[23,24,25,26,114,118,30,117,7,818,120,153],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb267ee7419e8115bf1c5d1d95984d.jpg","纵29.7厘米，横104.6厘米",[124,45],675,{"id":824,"slug":825,"title":826,"dynasty":18,"author":827,"museum":459,"description":828,"tags":829,"thumbUrl":830,"material":140,"size":831,"collection":42,"collections":832,"showCount":833,"zanCount":666,"manualWeight":48,"mainColor":49},221435,"qing-lv-shan-shui-ye-jing-hao-221435","青绿山水页","荆浩","荊浩（約850-911年），字浩然，號洪穀子，河內沁水(一説河南濟源人 ，一説山西沁水縣人， ）唐末五代時期著名畫家，北方山水畫派之祖。\n博通經史，博雅好古。乾符元年（874）前後，得到宰相裴休的關照，擔任小官。大中十年（856），罷官回鄉。躲避戰亂，常年隱居太行山 。善於山水畫，師從於張璪，吸取北方山水雄峻氣格，作畫“有筆有墨，水暈墨章”，勾皴之筆堅凝挺峭，表現出一種高深迴環、大山堂堂的氣勢，為北方山水畫派之祖 。\n\n著有《筆法記》山水畫理論的經典之作，提出氣、韻、景、思、筆、墨的繪景“六要”。作品《匡廬圖》《雪景山水圖》等",[23,152,24,25,385,27,28,118,30,63,7,117,64,69,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5196ec6dccfebf217ece15bc124669.jpg","45x30厘米",[42,124,45],664,{"id":835,"slug":836,"title":837,"dynasty":54,"author":801,"museum":167,"description":838,"tags":839,"thumbUrl":840,"material":177,"size":841,"collection":44,"collections":842,"showCount":843,"zanCount":631,"manualWeight":48,"mainColor":49},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","《溪山渔隐图》中山石耸立，林木茂密，江上小舟数只。图中江干岩岸，杂林疏朗，渔舍水榭坐落于丹枫之中。岸石掩映间，水面舟艇数只，舟上渔人或垂纶放钓，或横笛足，或拍掌击节和歌；屋内则促膝对酌，或凭栏观钓，或策杖闲步。画法苍古，用笔劲利，设色明艳全画清雅幽丽，神采逼人，堪称为唐寅灵腕之妙品，富有艺术价值。",[23,24,25,26,28,30,639,64,115,116,7,117,358,61,119,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","纵29.4cm，横351cm",[44,45],633,{"id":845,"slug":846,"title":847,"dynasty":620,"author":827,"museum":167,"description":848,"tags":849,"thumbUrl":850,"material":140,"size":851,"collection":179,"collections":852,"showCount":853,"zanCount":467,"manualWeight":48,"mainColor":49},231954,"kuang-lu-tu-jing-hao-231954","匡庐图","全幅用水墨画出，画法皴染兼备，充分发挥了水墨画的长处。画幅上部危峰重叠，高耸入云，山巅树木丛生，山崖间飞瀑直泻而下，大有“银河落九天”之势。山腰密林之中深藏一处院落，从院落之中一路下山，山道蜿蜒盘旋，道旁溪流宛转曲折，最后注入山下湖中。山脚水边，巨石耸立，村居房舍掩映于密林之中。水上有渔人撑船，不远的坡旁路上，有一人正赶着毛驴慢行。画中只有两人，人物在画中只作为陪衬。其中有宋高宗所书“荆浩真迹神品”六个字，一般认为是其真迹。\n此画画中绝磴悬崖，平麓云林，虽看不出具体皴法。但笔墨间表现出了山的雄伟气势，烟岚的深远缥缈，比唐代山水大大前进了一步。\n图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方整庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。\n中国山水画发展到晚唐、五代时，具备了更加丰富多样的表现形式，其中的水墨山水更是逐渐走向了成熟。\n荆浩提倡作画要忠实于自然对象，“远取其势，近取其质”，他善于创造富有概括力的形神兼备的艺术形象。除此之外，他还在学习传统的基础之上加以发展创造。他强调笔墨并重，曾对人说：“吴道子画山水，有笔无墨；项容有墨无笔，吾当采二子之所长，成一家之体。”他集唐人山水画法之大成，并努力创造革新，终成一代山水大家。荆浩在笔墨的结合上较前人进了一大步，他的《笔法记》是山水画的重要论著，其中山石皴法、树木画法的论述对山水画的发展起了很大作用。《匡庐图》便是体现他绘画理论的代表作。\n《匡庐图》画中的描绘山水究竟是太行山还是庐山尚存争议。\n这幅图的真实感很强，能够看出画家在隐居生涯中，对自然景观的深刻体验和虚怀若谷的淡泊情思。《匡庐图》营造了一幅雄伟刚劲与寂寞幽静相互交融的远离人间烟火的空灵世界。\n《匡庐图》采用的是立轴构图，鸟瞰式纵向全景布局，层次分明，山水壮阔。画家将“高远”、“平远”、“深远”结合运用，群峰耸峙的巍峨山峦与开阔平旷的山野幽谷，山径盘旋的山中小路及渐远渐淡的远处诸峰相映成趣，自然地呈现在画卷之中。\n在荆浩之前的山水画很少有表现雄伟壮阔的大山大水以及全景式的构图布局。而荆浩的《匡庐图》整幅画上面留天，下面留地。右下角临水浅坡，画的左下角至右面是静静的水面，远处和天色相连接，体现的是大山大水，开图千里的局面。他不满足于局部山水的描绘，而是放眼于广阔空间气势磅礴的自然景观。\n所谓的“全景山水”，其章法是指中心全景式布局，即主峰为中心，用云帕烟霞断白，衬托出中、前景的全局安排。此图以全景构图方式描绘出了山路蜿蜒、巨峰凌空、飞瀑如练，整幅画面体现出百尺危峰、屹立于青冥间的雄伟气势。全景式构图给人以旷远、峻拔、雄壮、博大而深远的审美感受。《匡庐图》大致分为三个层次，由远到近，虽为远景，但很醒目，突兀的主峰轮廓线与留白的天际相照应，峻伟耸拔的高峰在画而上部中央，是全画的视点，给人以开阔、博大、挺拔的意境。主峰被两侧缥缈的烟岚围绕着，主峰如屏，相互映照，充满张力的形式感把观者视野引向画外，联想到更辽远广阔的空间。中景画面丰富，既有飞瀑流水奔流于两崖之间，攀援而上，溪洞之巅横架一桥，两边用小斧劈皱描绘的岩壁，松柏古树参差之变，使画面富有节奏和韵律。近景表现一洗江水，一叶扁舟，树木描绘酣畅淋漓。整幅画而渲染着一种壮关、气脉相通的主旋律。\n此图在用笔上，勾、皴、染法并举，尤其是皴法的运用，是荆浩对山水画发展的重要贡献。画家以中锋画山石，边缘整齐，仿佛切割过般。山头和暗处用类似小斧劈的皴法，再施以淡墨多层晕染，表现出阴阳向背的质感，突出了画面的立体感和厚重感。在墨色变化上，画家注重用色浓、淡及黑、白的对比。且在画云时，一改前人细勾填粉的方法，仅以水墨渲染，衬托出云的空灵飘荡之态，画水也不再使用前人鱼鳞瓦片的勾线之法，而以淡墨烘染水面，显示出水面的明暗变化，兼用舟、桥等物象暗示水的存在，创造了水晕墨章的表现技法。\n《匡庐图》的透视方法，山峰用仰视，不仅令观者觉得山的高大，而且给人以庄严和雄伟的感觉。山腰的峰峦和庐舍、道路用平视，使自然景观给人以自然和亲切的感觉。山脚下的林木、树舍和山洞的流水、桥、松、房舍及行旅等用俯视，显示观者居高临下，给人以心旷神怡的感觉。尤其是山涧的布势，由于用平视，汀岸回转，伸向远方的山坳之中，不但增加了画面的力度，也增加了深度。\n在整幅画中，树的形态也是不一样的。树枝曲中见直，瘦劲有力。画中的树排列得很有曲线，群山把树林当做是一种屏障，而树林也把山当做是一种依靠。在树林森密的地方有一旅店，在旅店的旁边有一古渡，古渡旁边有水，水面显得十分宽阔。\n荆浩在这幅《匡庐图》中把后面的叠水以及水墨微妙的层次处理得很好，避免了山中的瀑布因为线条的处理而显得生硬，画采用了水墨晕染的方法，以丰富的层次体现了山、水、树和景物之间的距离\n画作通篇以中锋刻画山石，辅以侧锋“解索皴”、“钉头皴”、“豆瓣皴”等笔法烘托气氛，山头阳面和暗处皴法类似于小斧劈，间施以淡墨多层晕染，以表现阴阳向背之状。此方式能在唐代李思训父子的青绿山水中找到痕迹。荆浩则善于使用效、染兼具的复笔，错置排列又层次井然，多用小披麻皴，以各种点与效的笔形墨痕与峥嵘崔巍的景致浑然一体，将北方山石质地坚硬、结体曲致的表相，随笔墨运动的各种装饰性皴法，呈现主体心性与人格追求高度统一的“荆氏笔法”。\n五代韩屿：“翠微深处著轩楹，绝瞪悬崖瀑布明。”\n元代书画家柯九思：“岚溃晴薰滴翠浓，苍松绝壁影重重。瀑流飞下三千尺，写出庐山五老峰。”\n清代孙承泽：“其山与树，皆以秃笔细写，形如古篆隶，苍古之甚，非关、范所能及也。”\n现代中国书画理论家王伯敏《中国绘画通史》：“中国山水画的表现，在六朝时期即画有‘卧对其间可至数万里’的作品，到了荆浩的时期，获得更大发展，遂成为宋人所称的‘全景山水’……今传荆浩所作的《匡庐图》就体现了这种山水画的特点。《匡庐图》正是中国宋以前一件具有山水全景模式的典型作品。”",[24,25,202,30,114,118,243,204,7,244,37,206,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80349a4e9c08adb4ee01161f322fb590.jpg","纵185.8厘米，横106.8厘米",[],621,{"id":855,"slug":856,"title":857,"dynasty":223,"author":858,"museum":514,"description":859,"tags":860,"thumbUrl":868,"material":140,"size":869,"collection":44,"collections":870,"showCount":871,"zanCount":392,"manualWeight":48,"mainColor":128},222876,"hong-lou-meng-tu-ce-sun-wen-222876","红楼梦图册","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,29,28,61,62,70,173,861,170,289,7,862,69,273,863,864,865,866,867],"廊庑","古典园林","庭院景观","传统服饰","园林建筑","彩色绘制","精细勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f1fb4911504a20d8c776ac2c7c4877.jpg","纵43.3厘米、横76.5厘米",[44],620,{"id":873,"slug":874,"title":875,"dynasty":876,"author":877,"museum":658,"description":878,"tags":879,"thumbUrl":882,"material":140,"size":883,"collection":124,"collections":884,"showCount":885,"zanCount":454,"manualWeight":48,"mainColor":49},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","晋","顾恺之","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[23,24,25,26,29,28,61,170,880,30,7,881,156,116,153,119,120,438,152],"舟","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[124,45],613,{"id":887,"slug":888,"title":889,"dynasty":54,"author":110,"museum":423,"description":890,"tags":891,"thumbUrl":892,"material":78,"size":893,"collection":124,"collections":894,"showCount":895,"zanCount":467,"manualWeight":48,"mainColor":49},217060,"lin-wu-zhen-xia-shan-yu-yu-tu-shen-zhou-217060","临吴镇夏山欲雨图","这是沈周的一幅山水画，用的是淡淡的紫红色的笔。笔法大胆简练，气势如虹。构图简单自然，气氛轻松悠远。屋前有几棵稀疏的树，中间的笔触很强。后峰叠云，如蟠龙出没，后延一峰，略加皴擦，水墨淋漓，远处的山峰也略加勾勒，水墨轻盈。本卷中的笔墨运用随心所欲，无拘无束，墨色清晰明快。",[152,24,25,202,114,118,60,30,117,7,35,63,64,204,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d620b34209a6fc4cb19849a546e3d9.jpg","182x69.5cm",[124],606,{"id":897,"slug":898,"title":899,"dynasty":18,"author":298,"museum":167,"description":900,"tags":901,"thumbUrl":902,"material":303,"size":903,"collection":44,"collections":904,"showCount":905,"zanCount":666,"manualWeight":48,"mainColor":128},214644,"long-mian-shan-zhuang-tu-li-gong-lin-214644","龙眠山庄图","这幅画作于1077年，描绘了作者和他的朋友在他的家乡舒州龙眠山庄欣赏风景和喝茶的情景。风景迷人，画中的方形茶壶、篮子、茶烛和茶盘都是宋代的，可以作为宋代茶器的参考。",[23,24,25,26,437,30,62,63,64,116,7,61,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc405cec5883bd1b1559990728979.jpg","28.9x364.6",[44],600,{"id":907,"slug":908,"title":599,"dynasty":133,"author":909,"museum":167,"description":910,"tags":911,"thumbUrl":913,"material":303,"size":914,"collection":124,"collections":915,"showCount":916,"zanCount":631,"manualWeight":48,"mainColor":128},218740,"shan-shui-tu-ni-zan-218740","倪瓒","据王蒙在画上的题记，王蒙曾画过一幅倪瓒的《松石望山图》，倪瓒临摹了原作，交给了他的朋友文博，就是现在的这幅。后来，王蒙在他的朋友温家看到了这幅作品，并对其进行了补充，形成了这幅联合景观。",[23,152,24,25,202,114,118,912,30,117,204,64,7,115,462],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6ce25e904b4cba0d3febbec489966b.jpg","119.9x56.1",[124],579,{"id":918,"slug":919,"title":920,"dynasty":18,"author":298,"museum":266,"description":921,"tags":922,"thumbUrl":924,"material":303,"size":925,"collection":42,"collections":926,"showCount":927,"zanCount":928,"manualWeight":48,"mainColor":128},214884,"lian-she-tu-li-gong-lin-214884","莲社图","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[23,152,24,25,26,437,28,923,61,30,7,116,289,119,438,120,153],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","30.1x595.8",[42],566,1,{"id":930,"slug":931,"title":932,"dynasty":133,"author":355,"museum":20,"description":933,"tags":934,"thumbUrl":935,"material":936,"size":937,"collection":124,"collections":938,"showCount":939,"zanCount":11,"manualWeight":48,"mainColor":128},220820,"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[23,24,25,202,114,118,30,7,117,64,37,35,153,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纸本，墨笔","纵118.1厘米，横36.2厘米",[124,103],552,{"id":941,"slug":942,"title":943,"dynasty":18,"author":944,"museum":20,"description":945,"tags":946,"thumbUrl":947,"material":415,"size":948,"collection":42,"collections":949,"showCount":950,"zanCount":454,"manualWeight":48,"mainColor":49},221671,"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[23,24,25,26,27,28,30,117,7,32,62,676,29,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","纵55.6厘米，横323.2厘米",[42,331,45],551,{"id":952,"slug":953,"title":954,"dynasty":54,"author":955,"museum":20,"description":956,"tags":957,"thumbUrl":959,"material":936,"size":960,"collection":124,"collections":961,"showCount":962,"zanCount":928,"manualWeight":48,"mainColor":128},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[23,24,25,152,202,28,30,118,958,341,342,540,63,206,244,7,500,37],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纵101.7厘米，横46.7厘米。",[124,45],549,{"id":964,"slug":965,"title":599,"dynasty":54,"author":55,"museum":382,"description":966,"tags":967,"thumbUrl":969,"material":78,"size":970,"collection":124,"collections":971,"showCount":972,"zanCount":928,"manualWeight":48,"mainColor":49},218370,"shan-shui-tu-chou-ying-218370","这幅画描绘了一座山和一个深谷，一个有学问的人看着泉水，正在乘凉，一个有学问的人抱着琵琶走在山路上，而羊群和牛郎在溪流对岸嬉戏。这是大英博物馆收藏的唯一一幅仇英的真迹，因为它在对树木、岩石和人物的描绘方面接近仇英的实际笔触。",[23,24,152,29,28,118,30,7,244,61,64,968],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc24e2d4b1b7e561820f510b15f9bc13.jpg","138.8x72.5",[124,44,45],548,{"id":974,"slug":975,"title":976,"dynasty":18,"author":977,"museum":978,"description":979,"tags":980,"thumbUrl":981,"material":78,"size":982,"collection":42,"collections":983,"showCount":984,"zanCount":584,"manualWeight":48,"mainColor":985},218605,"wu-bai-luo-han-zhi-shi-cai-pin-zhe-tu-zhou-ji-chang-218605","五百罗汉之施财贫者图","周季常","波士顿美术馆","衣袂飘举间，罗汉群像神态各异：或持法器凝立，衣纹如流水般细腻；或低语相谈，眉眼间藏着慈悲的柔光。下方沟壑纵横处，贫者衣衫褴褛，匍匐劳作的身形佝偻着，困顿与艰辛在笔触里尽显。云雾缭绕的背景中，苍劲的树木与嶙峋的山石，悄然分隔却又勾连起上下两重世界。\n\n画家以写实之笔勾勒众生相，罗汉的从容与贫者的窘迫形成鲜明对照，似在无声传递施财济困的佛理。古绢底色晕染出岁月的厚重，每一处细节都浸着宋代佛画的庄重与温度，让慈悲之念在画面里缓缓流淌，直抵人心。",[23,152,24,25,202,923,29,28,61,117,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d79111b47df23f905bb3c17be404416.jpg","111.5x53.1",[42,44],530,"37474F",{"id":987,"slug":988,"title":989,"dynasty":990,"author":991,"museum":459,"description":992,"tags":993,"thumbUrl":996,"material":78,"size":179,"collection":124,"collections":997,"showCount":998,"zanCount":584,"manualWeight":48,"mainColor":49},218399,"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","唐","王维","素裹银妆的天地间，江波浩渺如镜，山峦起伏若眠。雪覆层岩似披素纱轻幔，枯藤老树凝霜，枝桠横斜间，几簇松针翠色凌寒而立，添了几分生机。江面上薄雾轻笼，一叶扁舟隐于烟波，恍若载着天地孤静。远处村落藏于雪麓，屋舍点点似有暖意暗涌。淡墨晕染雪意，线条疏朗含韵，静谧中透着禅韵，雪色洗尽尘嚣，尽显山水幽远。恰如诗中清寂，又藏着悠然，将冬日江雪的空灵深邃，凝于尺幅之间。",[23,152,24,26,28,30,747,994,156,115,117,32,7,818,995],"枯树","小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg",[124],519,{"id":1000,"slug":1001,"title":1002,"dynasty":18,"author":434,"museum":459,"description":1003,"tags":1004,"thumbUrl":1005,"material":78,"size":1006,"collection":42,"collections":1007,"showCount":1008,"zanCount":928,"manualWeight":48,"mainColor":49},214257,"yu-yuan-shi-chao-tu-yi-ming-214257","御苑市朝图","御苑市朝图是一幅作者不详的宋代画作。这幅画作描绘了宋朝的市场生活。\n\n在这幅画作中，画家巧妙地捕捉了宋朝的市场生活的繁华景象。他用浓墨重彩的画法，勾勒出了市场的熙熙攘攘的场面。他还用细腻的线条勾勒出了市场中出售各种商品的商贩，让人感受到了宋朝市场的繁荣景象。\n\n此外，画家在这幅画作中还描绘了市场周围的景色。他用色彩丰富的画法，描绘了市场周围的山川和河流。这些景色与市场的繁华场面形成了鲜明的对比，让人感受到了自然与人类活动的和谐\n共存。\n\n总之，御苑市朝图是一幅精美的画作，描绘了宋朝的市场生活。它让我们感受到了宋朝市场的繁荣景象，也让我们感受到了宋朝文化的魅力。",[23,152,24,25,202,59,28,30,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672f72d901c08686f814955355d9dcad.jpg","107x52",[42],518,{"id":1010,"slug":1011,"title":1012,"dynasty":133,"author":355,"museum":167,"description":1013,"tags":1014,"thumbUrl":1015,"material":122,"size":1016,"collection":124,"collections":1017,"showCount":1018,"zanCount":928,"manualWeight":48,"mainColor":128},214820,"jing-xi-shi-cui-tu-wang-meng-214820","荆溪湿翠图","这幅画描绘了水流湍急的泾河、声音激荡的瀑布、色彩斑斓的山峦和长满松树的松树。面板上有王蒙的长篇后记，据说是后来加的。这幅画的风格与杜琼的风格比较相似，从杜琼在 旌表贞节之门 下的印章可以看出。",[24,25,202,114,28,30,64,7,117,204,61,118,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69a4d460ff4b91c032f0a5094f977d7.jpg","142.6x42.9",[124],512,{"id":1020,"slug":1021,"title":1022,"dynasty":620,"author":827,"museum":459,"description":1023,"tags":1024,"thumbUrl":1025,"material":808,"size":809,"collection":179,"collections":1026,"showCount":1027,"zanCount":392,"manualWeight":48,"mainColor":985},287714,"kuang-lu-tu-tiao-se-ban-jing-hao-287714","匡庐图（调色版）","《匡芦图》是荆浩现存作品中比较可信的真作之一，图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。",[152,24,25,202,114,30,118,243,204,7,116,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8ad00d8855331e31469eec858e44e4.jpg",[],505,{"id":1029,"slug":1030,"title":1031,"dynasty":54,"author":110,"museum":658,"description":1032,"tags":1033,"thumbUrl":1034,"material":360,"size":1035,"collection":179,"collections":1036,"showCount":1037,"zanCount":666,"manualWeight":48,"mainColor":128},222135,"wei-yuan-ya-ji-tu-shen-zhou-222135","魏园雅集图","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。\n远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下，汇成棕棕小溪。\n溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱茏，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。画家皴染兼施，构筑的画面气魄雄浑沉静，画心连画家共 六人题咏，实为诗书画熔为一炉的山水佳作。\n本幅作品取材于五人山亭雅集之事，故这一场景被安置于图中极为醒目之处。",[23,24,25,114,118,120,119,153,30,116,61,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5f7a0e13b04d0d1a1bef16fd387091.jpg","纵145.5厘米，横47.5厘米",[],503,{"id":1039,"slug":1040,"title":1041,"dynasty":54,"author":55,"museum":167,"description":1042,"tags":1043,"thumbUrl":1045,"material":122,"size":1046,"collection":124,"collections":1047,"showCount":1048,"zanCount":631,"manualWeight":48,"mainColor":128},218534,"zhang-xin-gong-ci-tu-chou-ying-218534","长信宫词图","以著名的隋唐宫殿连昌宫为主题的诗画轴，诗塘上都附有所谓文征明书写的宫词二十五首。此幅与院藏《画长信宫词图》的书法与画风相当近似，当属同一组四幅对。当时的作坊，喜欢绘制以仇英画、文征明题诗的合璧之作来吸引买者。重青绿描金的山水，配上楼阁人物，四幅齐挂妆点厅堂时，肯定是相当富丽华贵。此幅诗画轴可能是以仇英绘图、陆师道题诗的〈仙山楼阁〉为模仿对象，连左前方松林与其间宫殿都有相似处，只是少了原作的典雅含蓄，更强调色彩缤纷与繁复细节。活动其间的宫人，或舞蹈，或凭栏，或抚琴，或对坐闲谈，观之令人兴味盎然。",[24,29,28,27,59,30,62,117,7,69,1044,676],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018a7dba5ec368fecd8fd467a61193fc.jpg","纵 66.8 公分 横37.6 公分",[124],501,{"id":1050,"slug":1051,"title":1052,"dynasty":620,"author":771,"museum":149,"description":1053,"tags":1054,"thumbUrl":1057,"material":303,"size":1058,"collection":124,"collections":1059,"showCount":1060,"zanCount":631,"manualWeight":48,"mainColor":49},220441,"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[23,152,24,25,26,114,118,30,1055,7,243,37,115,64,1056,116],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","37.5×150.8cm",[124,103],498,{"id":1062,"slug":1063,"title":1064,"dynasty":54,"author":55,"museum":551,"description":1065,"tags":1066,"thumbUrl":1068,"material":78,"size":1069,"collection":44,"collections":1070,"showCount":1071,"zanCount":928,"manualWeight":48,"mainColor":128},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,24,26,25,29,28,59,30,61,62,116,63,64,1067,7,117,70,171],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[44],497,{"id":1073,"slug":1074,"title":1075,"dynasty":1076,"author":1077,"museum":167,"description":1078,"tags":1079,"thumbUrl":1082,"material":78,"size":1083,"collection":44,"collections":1084,"showCount":1085,"zanCount":392,"manualWeight":48,"mainColor":49},220434,"liu-chao-liang-zhang-seng-yao-xue-shan-hong-shu-tu-zhang-seng-yao-220434","六朝梁张僧繇雪山红树图","南北朝","张僧繇","全幅以淡墨勾勒物象，舍弃皴法，再敷以青绿、朱红、白粉等色彩。重复出现圆弧状造型的山体，呈现一种古拙感。　本幅原题为〈六朝梁张僧繇雪山红树图〉，据唐宋史籍所载，张僧繇（活动于六世纪前半）专长以外来的凹凸画法绘制佛道人物壁画。晚明时期流传许多张僧繇的「没骨山水」，且有董其昌、蓝瑛等人的临仿作品。此幅应是晚明时期对张僧繇画风的揣摩与想像。",[24,25,202,28,30,1080,1081,63,90,61,117,7],"雪山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd533a6eb07070436caaa6f33827a741c.jpg","118x60.8",[44,45],493,{"id":1087,"slug":1088,"title":1089,"dynasty":223,"author":381,"museum":111,"description":1090,"tags":1091,"thumbUrl":1092,"material":303,"size":1093,"collection":124,"collections":1094,"showCount":1095,"zanCount":666,"manualWeight":48,"mainColor":49},220423,"shan-shui-qing-yin-tu-shi-tao-220423","山水清音图","该画作未明是画何地方，但从画面上来看，描绘的地方明显是黄山景色。虽是黄山景色，但却不知是哪一个黄山景色。图中峭壁大岭，飞泉湍急，新松夭矫，丛篁滴翠。水阁凉亭间，两位高士正对坐桥亭，默参造化的神机。画面上重重叠叠的坡陀峰峦，或直耸、或斜出、或横卧，把境界推向深远，右侧则以峭壁贯通天地，构造新颖。",[23,24,114,118,202,30,204,540,117,35,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296cf8c8039f22c3cd7610cdf01cbd29.jpg","纵102.6厘米，横42.5厘米",[124,103],469,{"id":1097,"slug":1098,"title":1099,"dynasty":54,"author":110,"museum":20,"description":1100,"tags":1101,"thumbUrl":1102,"material":230,"size":1103,"collection":124,"collections":1104,"showCount":1105,"zanCount":392,"manualWeight":48,"mainColor":128},222112,"chun-yun-die-zhang-li-zhou-shen-zhou-222112","春云叠嶂立轴","此作曾在康熙年间被高士奇收藏，并著录于其《江村消夏录》。该作描绘万物竞发、重峦叠嶂、云蒸霞蔚、春水泛漾的春天景象。画面清新雅致，刻画细腻，具有元人画的风格。\n但此作历来有真伪之辩。《春云叠嶂图》的整体风格，似有些米家元素，虽同样横点干皴，但山峦单一，林木呆板，与沈周其他仿米真迹如《西山雨观图》相去甚远，完全不符沈周任何时期的书风。但究其题识，又非一般人所能书之。",[23,24,114,202,30,881,117,7,64,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911a706d3e48a8c708d471d8a1448b00.jpg","纵152.2厘米，横43.2厘米",[124,103],463,{"id":1107,"slug":1108,"title":1109,"dynasty":54,"author":110,"museum":1110,"description":1111,"tags":1112,"thumbUrl":1114,"material":122,"size":1115,"collection":124,"collections":1116,"showCount":1117,"zanCount":631,"manualWeight":48,"mainColor":128},219871,"zi-sang-zhao-yin-tu-shen-zhou-219871","紫桑招隐图","印第安纳波利斯艺术博物馆","首先这是一幅长卷，长卷的意思就是从右往左，一部分一部分的展开来看，首先我们看到的是山石和树木，一派江南景色扑面而来。\n沈周的画法是吴门画派的重要代表画家，吴门画派的风格传承自元代文人画，也就是元四家、赵孟頫等人，从这幅画里我们可以明显的看到山石、水面和远景的画法有元代文人画的痕迹地面的一些处理方法又让人想到赵孟頫的秋郊饮马图。\n继续往左边展览，有人物、屋舍、舟船，最后视线进入隔岸的平远之中。明代的文人画讲究逸气，就是恬淡自然的审美情趣。整个画面简约而不简单，树木、人物、山石等元素处理妥当，构思完整而成熟，笔墨潇洒，寥寥数笔一切就跃然纸上，富有生气的同时又辽远淡泊。\n这一点和宋代严整的画院风格是不同的，文人画到了沈周这个时期，算是正式成为中国绘画的主流审美。沈周下启文征明、董其昌，董其昌又下启王时敏等明清中国正统文人山水画，无疑对后世整个中国画的面貌和发展有深远的影响。",[23,24,25,26,28,118,30,115,61,358,1113,7,64,117,639],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bd9c4c0f112994180bc96e1aa3296d.jpg","17.4x76cm",[124,45],460,{"id":1119,"slug":1120,"title":1121,"dynasty":18,"author":434,"museum":382,"description":1122,"tags":1123,"thumbUrl":1125,"material":78,"size":1126,"collection":124,"collections":1127,"showCount":1128,"zanCount":631,"manualWeight":48,"mainColor":49},218620,"luo-shen-fu-tu-yi-ming-218620","洛神赋图","这幅卷轴是暗示顾恺之时代的众多卷轴之一，其中两幅在北京紫禁城和辽宁省博物馆。然而，大英博物馆有一幅与北京紫禁城流传下来的南宋亲笔画类似的画卷，这两幅画都是重新创作的版本，人物和风景之间的关系更加协调。故宫博物院研究员于辉认为，这卷书是抄自紫禁城内的南宋卷，可追溯到明朝初期。如果对两卷进行仔细比较，本卷明显优于南宋宫廷卷，应抄袭本卷，本卷应在南宋初年完成。不幸的是，这卷书损坏太严重，很少能买到。这个博物馆恰好有两卷高分辨率的图像，有识之士可以查看其装饰性，或者说剩下的字是不是假的。",[23,26,29,28,61,30,1124,880,881,7,117,676],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u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211.1x34.4公分、全幅 67.5公分",[124,103],431,{"id":1186,"slug":1187,"title":1188,"dynasty":620,"author":771,"museum":167,"description":1189,"tags":1190,"thumbUrl":1194,"material":177,"size":1195,"collection":124,"collections":1196,"showCount":1197,"zanCount":11,"manualWeight":48,"mainColor":49},221156,"long-su-jiao-min-tu-dong-yuan-221156","龙宿郊民图","该图中以两重大山为主体，向画面的纵深走去。左边则是浩渺长江，也向画面的纵深流去，使画面很有深远感。该图在色彩的运用上也别具特色，作者将墨与青绿巧妙地合为一体，墨色和青绿色相得益彰却不相碍。作者用墨笔勾勒渲染后，在坡面峰峦等处略敷青绿，颇有郁郁葱葱，草木繁茂之意。",[23,24,152,25,202,30,28,774,7,117,32,138,61,243,38,206,788,1191,1192,415,1193,118],"自然景观","传统技法","南派山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488a9480f5fb0b143be257ea8e941809.jpg","纵156厘米，横160厘米",[124,103],422,{"id":1199,"slug":1200,"title":1201,"dynasty":133,"author":134,"museum":1202,"description":1203,"tags":1204,"thumbUrl":1206,"material":303,"size":1207,"collection":124,"collections":1208,"showCount":1209,"zanCount":631,"manualWeight":48,"mainColor":128},218260,"shui-ge-qing-you-tu-huang-gong-wang-218260","水阁清幽图","南京博物院","《水阁清幽图》画的是深山隐居之景。整幅画可分为远近两部分，景物以云气间隔。近景描绘一山间溪流从远处密林中涓涓而来，溪口有三座房子，房前有平台。溪流两岸，坡石层叠，树木成林，葱郁茂盛。山谷之间，云气弥漫，其后远景中一主峰耸立，形状如蹲似踞，两旁低峰回护，前伸山顶平台，使远近之景相互呼应。\n《水阁清幽图》画面右上角署款“大痴道人平阳黄公望画于云间客舍，时年八秩有一”，钤“黄氏子久”白文方印和“一峰道人”朱文方印。画面右侧另钤有梁清标“苍岩子”“蕉林居士”鉴藏印，右上有王时敏“西田”朱文印和王撰“颛菴”印及“董光裕印”白文方印各一枚。",[24,25,114,118,202,30,341,342,7,1205,35,64],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25bba667d059525d84d5bfdaa9f9e2d.jpg","纵104.5厘米，横67.3厘米",[124],421,{"id":1211,"slug":1212,"title":1213,"dynasty":54,"author":110,"museum":20,"description":1214,"tags":1215,"thumbUrl":1217,"material":1218,"size":1219,"collection":124,"collections":1220,"showCount":1221,"zanCount":467,"manualWeight":48,"mainColor":128},222098,"jing-jiang-song-bie-tu-shen-zhou-222098","京江送别图","此图引首为王时敏题隶书“名迹貽徽”。本幅款署“沈周”。钤“启南”。后幅有沈周自题跋文，述作此图原由。另有明代文林书“送吳敘州之任序”、祝允明书“敘州府太守吳公詩序”及多家跋文。\n据《吴梅村先生集》考，此图成于明弘治四年(1491年)辛亥三月，沈周时年65岁。图中描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。吴愈是沈周的朋友，文徵明的岳丈，任所叙州，地处今四川宜宾。画面中主人乘舟远去，众人在岸边长揖作别。此时江南正是杨柳葱郁、山桃烂漫、风光无限之时。作者借描绘江南秀色流露出依依惜别之情，寄情于景，情景交融。远山以粗笔披麻皴法出之，墨色浓重滋润，线条苍秀，反映了沈周成熟的画风。",[23,24,201,118,26,30,115,61,7,63,64,1216],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97856aac11363d716cd5b6de3f3eb0bf.jpg","纸本，设色","纵28厘米，横159厘米",[124,45],411,{"id":1223,"slug":1224,"title":1225,"dynasty":18,"author":713,"museum":20,"description":1226,"tags":1227,"thumbUrl":1228,"material":40,"size":1229,"collection":42,"collections":1230,"showCount":1231,"zanCount":584,"manualWeight":48,"mainColor":49},221541,"si-jing-shan-shui-tu-quan-juan-liu-song-nian-221541","四景山水图全卷","此卷图画分为四段，分别绘春、夏、秋、冬四时景象。\n第一幅，踏青，春花烂漫，杨柳葱翠；\n第二幅，纳凉，夏木浓荫，碧荷点点；\n第三幅，观山，秋高气爽，霜叶尽染；\n第四幅，赏雪，山裹银装，万籁俱寂。\n画面以人物活动为中心，结合界画技法，精心构建庭院台榭等建筑，工整精巧，或富丽，或古朴。山石以小斧劈皴法出之，苍逸劲健，行笔设色严谨而注重法度，画中人物虽小而形神完备。整幅作品面貌古朴，笔法精严，极富南宋画院作品的特色。临安（今浙江杭州）作为南宋都城所在，高官显贵们的庭园别墅建造甚多，刘松年身为画院画家，长年生活其间，描绘起来自然得心应手。此图立意于表现士绅官僚优裕闲适的生活，画家的注意力从山川自然的野韵转移到人工营造修饰的景物，这种题材风格的转变，从侧面反映出南宋时期，一大批无心复国的官僚们，专注于享乐的生活态度。正如诗云：“暖风薰得游人醉，只把杭州作汴州”。",[23,24,26,29,28,30,116,62,63,64,61,117,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa115d24c28f3208afa166893f49c7a.jpg","纵40厘米，横69厘米",[42,124,103],409,{"id":1233,"slug":1234,"title":1235,"dynasty":18,"author":575,"museum":459,"description":1236,"tags":1237,"thumbUrl":1239,"material":78,"size":1240,"collection":44,"collections":1241,"showCount":1242,"zanCount":467,"manualWeight":48,"mainColor":49},218652,"song-xia-tan-qin-tu-ma-yuan-218652","松下弹琴图","这幅画的构图是马远的绘画风格，有岩石、松树和一个和尚，或者是 伯牙鼓琴 的典故。树木的叶子是用双钩和填充的方法进行层压和绘画的。石头的纹理是用斧头表达的，这使它们具有很好的质感。松针画得非常仔细，笔法严谨而纯粹。",[23,24,25,28,61,540,117,7,1238,806,118,29,30],"童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf693032a9cf5c8cec0275d6ef70b42.jpg","166.50x99厘米",[44],402,{"id":1244,"slug":1245,"title":1246,"dynasty":18,"author":575,"museum":423,"description":1247,"tags":1248,"thumbUrl":1249,"material":78,"size":1250,"collection":42,"collections":1251,"showCount":1252,"zanCount":11,"manualWeight":48,"mainColor":128},218077,"song-di-ming-ti-ce-ma-yuan-218077","宋帝命题册","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,152,24,25,385,59,28,118,30,62,540,500,117,7,37,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f18219cdd8de698e8ca906fbb1bca8.jpg","纵28厘米、横27厘米",[42,124],397,{"id":1254,"slug":1255,"title":1256,"dynasty":133,"author":1257,"museum":56,"description":1258,"tags":1259,"thumbUrl":1260,"material":230,"size":1261,"collection":124,"collections":1262,"showCount":1263,"zanCount":928,"manualWeight":48,"mainColor":49},221810,"song-xuan-chun-ai-tu-zhou-zhang-yu-221810","松轩春霭图轴","张羽","此图表现了春山“纵使晴明天雨色，入云深处亦沾衣”的意态。近景处坡石曲折，树林阴翳，一湾溪水逶迤而过，茅舍数椽隐于林中，静谧无人；中景山腰白云缭绕，亭台楼阁闪现其间；远景画一主峰突兀，山色浓重浑然。山石的结构以披麻皴勾写，层次丰富，脉络井然；山体以米氏横点层层积染，并以墨点和色点相互交错。尤其是主峰的刻画，丰富而充满生机，能与高克恭相媲美。全图笔调粗放，墨色氤氲，青、蓝、墨、赭，融合于一片春色之中。",[23,24,25,202,114,28,30,540,37,243,7,118,117,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbf82b9a395bf951704715997109750.jpg","纵91.5cm，横31.5cm",[124,45],396,{"id":1265,"slug":1266,"title":471,"dynasty":18,"author":944,"museum":167,"description":1267,"tags":1268,"thumbUrl":1269,"material":78,"size":1270,"collection":124,"collections":1271,"showCount":1272,"zanCount":11,"manualWeight":48,"mainColor":128},218894,"xian-shan-lou-ge-tu-zhao-bo-ju-218894","这幅仙山仙阁的画作，色彩鲜艳，白云在山腰盘旋，显得格外高雅。这幅画是由黄君璧捐赠的。",[23,24,25,202,27,28,29,59,30,62,7,37,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e587eae532bf826f5b62f202f510946.jpg","159.9x84.2",[124],388,{"id":1274,"slug":1275,"title":1276,"dynasty":54,"author":55,"museum":382,"description":1277,"tags":1278,"thumbUrl":1279,"material":78,"size":179,"collection":44,"collections":1280,"showCount":1281,"zanCount":392,"manualWeight":48,"mainColor":49},219568,"yan-le-tu-chou-ying-219568","宴乐图","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[23,24,25,26,29,28,59,61,62,7,117,90,116,70,156,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[44,45],384,{"id":1283,"slug":1284,"title":1285,"dynasty":223,"author":381,"museum":459,"description":1286,"tags":1287,"thumbUrl":1291,"material":179,"size":179,"collection":124,"collections":1292,"showCount":1293,"zanCount":666,"manualWeight":48,"mainColor":128},224509,"shan-shui-tu-ce-8-kai-shi-tao-224509","山水图册8开","此作以淡墨晕染江波，留白铺就浩渺水色，似将朝雾笼于纸面。近岸以枯笔皴擦岩壁，赭石敷色晕出沙汀暖意，苔点错落点缀野趣。两间山居素净朴拙，静立崖边，与斜渡的赭帆渔舟相映成趣，暗合江天悠悠的闲逸氛围。\n\n笔致松秀灵动，虚实相生，将阔远山水缩于尺幅之间，题诗与画境相融，尽抒寄情丘壑的隐逸襟怀，淡远清和的意绪漫溢纸面。",[23,24,25,385,114,28,118,30,115,1288,1289,117,7,1290,153],"帆船","小屋","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40fd268d38073e0d113ca5d35047fc17.jpg",[124,45],374,{"id":1295,"slug":1296,"title":1297,"dynasty":54,"author":955,"museum":20,"description":1298,"tags":1299,"thumbUrl":1301,"material":1302,"size":1303,"collection":124,"collections":1304,"showCount":1305,"zanCount":48,"manualWeight":48,"mainColor":128},220902,"shan-shui-ce-2-dong-qi-chang-220902","山水册2","此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[23,152,24,25,475,118,28,114,912,30,540,117,32,91,7,500,674,206,1300,37,968],"坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d5fcdccb54e4ad4c6519be4ed88cbc.jpg","纸本，水墨和设色","每开纵26.3厘米，横25.5厘米。",[124,45],371,{"id":1307,"slug":1308,"title":1309,"dynasty":223,"author":1310,"museum":167,"description":1311,"tags":1312,"thumbUrl":1314,"material":78,"size":1315,"collection":124,"collections":1316,"showCount":1305,"zanCount":928,"manualWeight":48,"mainColor":128},214285,"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","唐岱","唐岱（1779-1853）是清代著名的画家，他擅长仿范宽山水画，其作品被视为中国画史上的杰出代表作。\n\n唐岱的画风受到范宽的影响，他追求写实，注重山水造型的和谐美。他在画山水的同时，还注重人物的写实，将人物融入山水之中，使作品更加生动。\n\n唐岱的代表作有《山水图》、《松鹤楼图》、《赏鸟图》等。这些作品展现了他对山水的深刻理解和传统山水画的精湛技艺。他的作品常常被收藏家所喜爱，具有很高的收藏价值。",[152,24,25,202,28,30,118,60,153,31,3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等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,25,26,59,29,437,61,62,63,64,89,90,91,7,67,65,94,1323,32,35,95,71],"轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg",[],368,{"id":1328,"slug":1329,"title":1330,"dynasty":620,"author":771,"museum":56,"description":1331,"tags":1332,"thumbUrl":1333,"material":140,"size":1334,"collection":124,"collections":1335,"showCount":1336,"zanCount":928,"manualWeight":48,"mainColor":49},221159,"xi-an-tu-dong-yuan-221159","溪岸图","《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[23,24,25,30,118,774,114,28,244,7,64,204,116,500,674,206,243,38,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee3a8ea2ec5b0766e929d242272f70a.jpg","纵220.3厘米，横109.2厘米",[124,103],366,{"id":1338,"slug":1339,"title":1340,"dynasty":54,"author":1341,"museum":111,"description":1342,"tags":1343,"thumbUrl":1345,"material":78,"size":179,"collection":44,"collections":1346,"showCount":1347,"zanCount":720,"manualWeight":48,"mainColor":49},218253,"shi-nv-juan-du-jin-218253","仕女卷","杜堇","长卷铺展间，亭台花木错落，数十位仕女于其间各展风姿。她们衣袂翩跹，眉目温婉，或倚栏低语，或临案抚琴，或捧卷凝思，或嬉戏于阶前竹下。笔墨细腻处，衣纹流转如行云，发饰精巧似蝶落；设色淡雅间，朱红轻点裙裾，墨绿晕染枝叶，层次隐现。庭院深深，竹影婆娑，山石静立，将闺阁的闲适与雅致悄然收纳。人物互动自然生动，仿佛能听见轻声笑语，嗅到草木清芬。整幅作品以流畅线条勾勒温婉神韵，用舒缓节奏铺陈宁静时光，尽显古代仕女生活的诗意与从容。",[23,24,25,26,29,28,61,170,62,70,173,592,7,117,175,1344],"服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa7f600640a884b3f3a55ef2144af81.jpg",[44],360,{"id":1349,"slug":1350,"title":1351,"dynasty":54,"author":55,"museum":167,"description":1352,"tags":1353,"thumbUrl":1354,"material":316,"size":1355,"collection":124,"collections":1356,"showCount":1357,"zanCount":631,"manualWeight":48,"mainColor":128},222196,"xian-shan-lou-ge-tu-zhou-chou-ying-222196","仙山楼阁图轴","仇英此图即脱胎于南宋“院体”，又兼容文人画之长，具雅逸之致。\n画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。特写的景致，劲遒的松枝，坚峭的山石，劲利的用笔，以及小斧劈皴等，都存“院体”遗规。\n而构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和，色调明快。\n如杨翰在《扫石轩画谈》中所评：“笔笔皆如铁丝，有起有止，有韵有情，亦多疏散之气，如唐人小楷、令人探索无尽。”\n画面上方楷书为陆师道所提，乃明代官员，师承文徵明，严整恭谨的概述与仇英的画面配合的相得益彰。",[23,24,25,202,59,29,28,30,62,117,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc6047fc5802e4c930601cc55e6e5e9.jpg","110.5x42.1",[124,45],351,{"id":1359,"slug":1360,"title":186,"dynasty":133,"author":134,"museum":167,"description":136,"tags":1361,"thumbUrl":1366,"material":140,"size":190,"collection":124,"collections":1367,"showCount":1368,"zanCount":11,"manualWeight":48,"mainColor":128},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767",[23,24,25,26,114,118,30,115,64,7,1362,243,63,1363,775,289,358,37,1364,1365],"江","渔舟","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg",[124,103],349,{"id":1370,"slug":1371,"title":1372,"dynasty":223,"author":434,"museum":167,"description":1373,"tags":1374,"thumbUrl":1379,"material":78,"size":1380,"collection":124,"collections":1381,"showCount":1382,"zanCount":48,"manualWeight":48,"mainColor":49},218493,"fang-zhao-meng-fu-que-hua-qiu-se-tu-yi-ming-218493","仿赵孟頫鹊华秋色图","平野旷远，秋气澹然。疏林错落于汀渚间，枯藤缀红，苍松凝翠，枝桠横斜藏萧瑟之韵；浅滩细草萋萋，水鸟翩跹，添野趣几分。左畔圆丘如覆，右峰尖峭似锥，淡墨晕染出层峦之态，远岫含烟，空蒙悠远。笔墨承古意，设色雅淡，将秋郊的旷疏与静谧凝于绢素。画面空灵澄澈，无喧嚣之扰，尽显宋元山水的悠然之境，似可闻风过林梢、水鸟轻啼，令人心驰神往。",[23,24,25,152,26,60,28,118,30,7,1375,1376,1377,1378,994],"平野","芦苇","孤山","红叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76414e091a2fe78c9e55723e023ebb19.jpg","28.7x146cm",[124],346,{"id":1384,"slug":1385,"title":1386,"dynasty":620,"author":771,"museum":1387,"description":1388,"tags":1389,"thumbUrl":1392,"material":555,"size":1393,"collection":103,"collections":1394,"showCount":1395,"zanCount":11,"manualWeight":48,"mainColor":985},219166,"han-lin-zhong-ting-tu-dong-yuan-219166","寒林重汀图","日本兵库县黑川文学院","此图皴笔粗,苔点则兼用渴笔、焦黑、乱锋为素的空处相掩映,黑白对比变化多端。垂柳分列面相之,而运笔迅疾,力量饱满。除长披麻外,复于岸之顾盼,村舍延,远景近景连成一片。此画技法高超,阴面以碎笔打点,或聚或散,不仅线、点的墨色和乃难得的绝世佳作。",[23,24,114,28,118,30,748,775,1390,7,35,63,1391],"水域","平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d474576e331ddcfa77cd48b6650a19.jpg","纵181.5、横116.5厘米",[103],343,{"id":1397,"slug":1398,"title":1399,"dynasty":54,"author":110,"museum":459,"description":1400,"tags":1401,"thumbUrl":1402,"material":230,"size":179,"collection":179,"collections":1403,"showCount":1404,"zanCount":11,"manualWeight":48,"mainColor":128},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[23,152,24,25,26,114,28,30,64,116,61,115,117,118,1067,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0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法而有雅澹之韵，为清院画中之佳作。",[23,29,28,59,26,1457,61,62,63,64,66,7,35,72,68,1458,1459,65,71,32,36,70,69,1191,1460,1461],"风俗","城郭","街道","交通工具","市集场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba48e0062ff6d8804c1adc57bd629c2b.jpg","纵35．6厘米，横1152．8厘米",[44,45],333,{"id":1467,"slug":1468,"title":1469,"dynasty":54,"author":955,"museum":111,"description":1470,"tags":1471,"thumbUrl":1475,"material":122,"size":179,"collection":124,"collections":1476,"showCount":1465,"zanCount":467,"manualWeight":48,"mainColor":128},214656,"qiu-xing-ba-jing-tu-ce-dong-qi-chang-214656","秋兴八景图册","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[24,25,385,28,118,120,119,153,30,341,342,1472,1473,37,500,1474,7],"树","石","近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefa769413df82271d17a82b2ee80653.jpg",[124],{"id":1478,"slug":1479,"title":1480,"dynasty":133,"author":1481,"museum":20,"description":1482,"tags":1483,"thumbUrl":1484,"material":415,"size":1485,"collection":124,"collections":1486,"showCount":1487,"zanCount":928,"manualWeight":48,"mainColor":49},221858,"chun-shan-fan-zhou-tu-zhou-hu-ting-hui-221858","春山泛舟图轴","胡廷晖","整幅画面构图繁密，洋溢着一派春和景明的气象。图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非书画收藏家。画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。这幅《春山泛舟图》也没有签署名款，所以“廷晖”残印不可能是收藏印，而只能是作者印。此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。在色彩上两者都具有相似的绚丽色泽。此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。\n1998年，美籍华人、收藏家王季迁先生将此图捐赠故宫博物院。",[23,24,25,202,29,28,118,30,115,61,62,7,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8db66954c76bddaccd24a02539e4bf8.jpg","纵143厘米，横55.5厘米",[124,103],332,{"id":1489,"slug":1490,"title":1491,"dynasty":54,"author":55,"museum":266,"description":267,"tags":1492,"thumbUrl":1493,"material":78,"size":279,"collection":179,"collections":1494,"showCount":1495,"zanCount":48,"manualWeight":48,"mainColor":49},216363,"xi-xiang-ji-tu-ye-2-chou-ying-216363","西厢记图页-2",[24,25,385,29,28,61,90,63,64,30,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f417418f71dda24d7c8dff0d64502.jpg",[],331,{"id":1497,"slug":1498,"title":1499,"dynasty":223,"author":1500,"museum":167,"description":1501,"tags":1502,"thumbUrl":1503,"material":78,"size":179,"collection":45,"collections":1504,"showCount":1505,"zanCount":419,"manualWeight":48,"mainColor":128},218501,"fang-song-yuan-ben-jin-ling-tu-xie-sui-218501","仿宋院本金陵图","谢遂","本卷描绘了金陵城的城市和村庄的商店和街景，以及市场上的人们，细节丰富，气氛热烈。笔触非常准确，人物形象也很生动。根据作者在画板上的标记，这幅画完成于乾隆五十二年（公元1787年）。 在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[23,152,24,25,26,29,28,60,61,62,63,64,7,91,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[45],329,{"id":1507,"slug":1508,"title":1509,"dynasty":54,"author":1510,"museum":167,"description":1511,"tags":1512,"thumbUrl":1514,"material":360,"size":1515,"collection":124,"collections":1516,"showCount":1517,"zanCount":48,"manualWeight":48,"mainColor":49},221921,"tai-ping-chun-se-zhou-qian-gong-221921","太平春色轴","钱贡","本幅画农家丰年度岁之情景:厅堂盆火高烧,儿童围炉展纸,一人搦管欲书;屋外寒梅怒放,群儿欢聚嬉戏,一老叟策杖行于桥上。画面上一派生机盎然的景象。",[23,202,29,28,61,62,63,579,70,117,1170,1513,7,35],"炉火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3fd06b089f3ed8156b696b2d89afe7.jpg","122cm ×49.8cm",[124,45],328,{"id":1519,"slug":1520,"title":1521,"dynasty":18,"author":434,"museum":20,"description":1522,"tags":1523,"thumbUrl":1526,"material":114,"size":179,"collection":42,"collections":1527,"showCount":1528,"zanCount":928,"manualWeight":48,"mainColor":1138},214846,"lu-tong-peng-cha-tu-yi-ming-214846","卢仝烹茶图","卢仝烹茶图是一幅宋代的佚名画家的作品。它是一幅木板设色的水墨画，画面上描绘了卢仝品茶的场景。卢仝是一位著名的宋代文学家，也是一位品茶爱好者。在这幅画中，他正在品茶时，周围的人们也都在品茶。这幅画展现了宋代品茶文化的精髓，充满了浓浓的文化气息。\n\n卢仝烹茶图是一幅很有名的宋代水墨画，因为它出色地展现了宋代品茶文化的精髓。品茶是中国古代的一种传统文化，它的历史可以追溯到公元前三世纪。品茶不仅是一种消遣，更是一种品味生活的方式。它融合了中国传统的艺术、文化、哲学和美学思想，对中国的文化形成了深远的影响。\n\n在这幅画中，卢仝坐在一张桌子前，手持茶杯，正在品茶。周围的人们也都在品茶，气氛非常融洽。画面中还有许多细节，如茶壶、茶杯、茶几等，都反映了宋代品茶文化的特点。\n\n这幅画的画风精细，线条流畅，色彩鲜艳。它体现了宋代画家的高超技巧和精湛的艺术修养。这幅画不仅是一件艺术品，也是中国传统文化的瑰宝。",[23,24,25,114,28,29,437,118,119,153,61,35,7,117,1524,1525],"茶具","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d777192da391bf2696d0105e63bf54.jpg",[42],322,{"id":1530,"slug":1531,"title":1532,"dynasty":223,"author":1533,"museum":20,"description":1534,"tags":1535,"thumbUrl":1536,"material":78,"size":1537,"collection":124,"collections":1538,"showCount":1539,"zanCount":928,"manualWeight":48,"mainColor":49},214365,"fang-ju-ran-shan-shui-wang-jian-214365","仿巨然山水","王鉴","王鉴（1792-1867）是清代著名的画家，他的作品《仿巨然山水》是其代表作之一。\n\n《仿巨然山水》描绘了一幅山水画面，王鉴在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。王鉴在《仿巨然山水》中仿照了巨然（元代画家）的山水画风，并加以提升，使作品更具艺术性。\n\n《仿巨然山水》被认为是王鉴写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仿巨然山水》也是收藏家们青睐的经典之作。\n\n王鉴的《仿巨然山水》不仅是一幅精美的画作，更是一首关于自然之美的诗篇。在这幅画作中，王鉴巧妙地运用了水墨画的技法，勾勒出山水的层次感和自然的秀美。作品中的山川、树木、花卉都表现出了自然界的细腻与丰富，使观者感受到大自然的魅力。",[23,24,202,60,118,28,30,341,342,204,7,116,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8dfd4e6285792e5a5e9c104ff6bf42.jpg","220.8x109",[124],319,{"id":1541,"slug":1542,"title":1543,"dynasty":18,"author":298,"museum":167,"description":1544,"tags":1545,"thumbUrl":1547,"material":303,"size":903,"collection":124,"collections":1548,"showCount":1549,"zanCount":928,"manualWeight":48,"mainColor":128},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[23,24,152,26,437,29,114,30,117,7,204,61,1546,63,64,504,206,244],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg",[124],318,{"id":1551,"slug":1552,"title":1553,"dynasty":133,"author":355,"museum":423,"description":1554,"tags":1555,"thumbUrl":1556,"material":303,"size":179,"collection":179,"collections":1557,"showCount":1558,"zanCount":48,"manualWeight":48,"mainColor":128},214576,"shan-shui-ce-3-wang-meng-214576","山水册-3","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[152,24,114,118,385,30,7,91,64,1300,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ef6f289b0869c501494295442e78b88.jpg",[],317,{"id":1560,"slug":1561,"title":1562,"dynasty":133,"author":355,"museum":423,"description":1554,"tags":1563,"thumbUrl":1564,"material":303,"size":179,"collection":179,"collections":1565,"showCount":1566,"zanCount":928,"manualWeight":48,"mainColor":128},214569,"shan-shui-ce-8-wang-meng-214569","山水册-8",[24,114,28,118,385,30,540,358,243,328,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa979705b9e03b4cc5259e511244f05ad.jpg",[],316,{"id":1568,"slug":1569,"title":1570,"dynasty":133,"author":355,"museum":423,"description":1554,"tags":1571,"thumbUrl":1572,"material":303,"size":179,"collection":179,"collections":1573,"showCount":1574,"zanCount":928,"manualWeight":48,"mainColor":128},214567,"shan-shui-ce-10-wang-meng-214567","山水册-10",[24,25,385,114,118,30,64,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6f01f557728430d33136d8c56a8203.jpg",[],315,{"id":1576,"slug":1577,"title":1578,"dynasty":223,"author":1579,"museum":20,"description":1580,"tags":1581,"thumbUrl":1582,"material":40,"size":1583,"collection":179,"collections":1584,"showCount":1585,"zanCount":666,"manualWeight":48,"mainColor":49},234922,"fu-chun-shan-tu-zhou-yun-shou-ping-234922","富春山图轴","恽寿平","图绘林木葱茂、山峦起伏的雄秀景色。此图是作者仿元黄公望《富春山图》画意之作，线条勾勒粗犷，笔势潇洒而秀润。淡墨皴染，墨色透明而不失凝重，显现出作者对黄氏笔墨技法的娴熟运用能力。",[24,25,202,114,118,30,7,117,32,35,63,880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e6255603844435afcc8c4427ea5fcc.jpg","纵168cm，横69.2cm",[],312,{"id":1587,"slug":1588,"title":1589,"dynasty":223,"author":381,"museum":20,"description":1590,"tags":1591,"thumbUrl":1592,"material":506,"size":179,"collection":179,"collections":1593,"showCount":1585,"zanCount":467,"manualWeight":48,"mainColor":128},234231,"yuan-ji-shan-shui-tu-juan-shi-tao-234231","原济山水图卷","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[23,24,114,26,118,30,63,64,117,7,35,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98857fb9227e3d88875c038ee2e558af.jpg",[],{"id":1595,"slug":1596,"title":1597,"dynasty":620,"author":771,"museum":658,"description":1598,"tags":1599,"thumbUrl":1600,"material":140,"size":1601,"collection":124,"collections":1602,"showCount":1603,"zanCount":48,"manualWeight":48,"mainColor":49},221153,"xia-jing-shan-kou-dai-du-tu-juan-quan-juan-dong-yuan-221153","夏景山口待渡图卷全卷","《夏景山口待渡图》图中山势重叠，缓平绵长，植被丰茂，水汽若蒸，似江南夏日景色。起首处水面浩渺，扁舟隐现，中景山势重叠，林木疏朗挺直，竹丛杂处其间，茅屋隐约可见；卷末渡船未到，官客等待，点出主题。全图构思精细，设色雅淡，冈峦清润，林木秀密。技法上以披麻皴为主，多用苔点，色彩淡雅，为典型的江南山水",[23,24,152,25,26,30,64,115,7,774,114,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1987f1d1f3d0d2e45e2314a9f565c70.jpg","纵50厘米，横320厘米",[124,103],309,{"id":1605,"slug":1606,"title":1607,"dynasty":54,"author":110,"museum":266,"description":1608,"tags":1609,"thumbUrl":1610,"material":122,"size":1611,"collection":124,"collections":1612,"showCount":1603,"zanCount":928,"manualWeight":48,"mainColor":49},219997,"fang-wang-meng-shan-shui-tu-shen-zhou-219997","仿王蒙山水图","沈周（1427～1509）明代杰出书画家。字启南，号石田、白石翁、玉田生、有居竹居主人等。汉族，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。",[23,24,25,30,28,114,118,60,63,64,117,7,204,61,62,502,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee133c9090a1b144a80565865755e15.jpg","121.2 × 60.2 cm",[124,45],{"id":1614,"slug":1615,"title":1616,"dynasty":620,"author":1617,"museum":266,"description":1618,"tags":1619,"thumbUrl":1623,"material":78,"size":1624,"collection":331,"collections":1625,"showCount":1626,"zanCount":666,"manualWeight":48,"mainColor":128},220047,"bai-niao-chao-feng-tu-xu-xi-220047","百鸟朝凤图","徐熙","构图开阔舒展，右侧古木荫翳，灵凤独立石上，翎羽妍丽夺目。百禽翔游栖止各尽其态，或振翅穿林、或浮波弄影、或凝立枝梢，品类繁富灵动鲜活。汀渚花木错落，烟水澹澹，赤日悬于淼茫之上，晕开融融暖意。\n\n设色古雅温润，勾勒兼具工致与野逸，将百朝灵瑞的吉庆之意，融于苍润悠然的自然之境，既见写生妙趣，亦托太平祥瑞之思，淡远雅致，余韵悠长。",[23,152,24,26,29,28,171,156,172,1620,7,1621,117,64,1622],"鹤","花草","太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34dbcbe061745c03e7b73b79d4def2e8.jpg","34.3 x 236.9",[331],308,{"id":1628,"slug":1629,"title":1630,"dynasty":18,"author":198,"museum":167,"description":1631,"tags":1632,"thumbUrl":1633,"material":360,"size":1634,"collection":42,"collections":1635,"showCount":1636,"zanCount":928,"manualWeight":48,"mainColor":49},221383,"lin-liu-du-zuo-tu-zhou-fan-kuan-221383","临流独坐图轴","这幅画沿袭北宋雄伟山水的传统：主山位在画幅的中央上端，两侧罗列次要的山峰，以溪谷、河流、桥梁、云烟显示深而远的空间。临流独坐岸边的士人，点出画的主题，与巨大的山石相比，人物如此渺小而且不明显，表现了北宋传统的自然观。\n在范宽的《溪山行旅图》和郭熙的《早春图》中，看到的点景人物，都是市井小民，在写“真山水”的观念下，北宋山水画家很自然的将观察到的寻常百姓的生活描写入画。十一世纪后期，士大夫与文人成为政府与社会的中坚，领导文学艺术的发展，文人或隐士的理想开始在诗歌、书法与绘画中反映出来，陶渊明《归去来辞》的名句：“登东皋以舒啸，临清流而赋诗，聊乘化以归尽，乐夫天命复奚疑。”曾经是十一世纪末北宋画家喜爱的题材，或者也是这幅画的灵感来源。所以岸边简陋的茅草屋和水榭是这位归隐士人的居所，陪伴他的是深林巨嶂，孤舟木桥，一个远离尘嚣的自然世界。画幅上端十则明人的题诗，就是围绕着这个主题，描写这幅画带给他们的感受。",[23,24,25,152,202,30,64,61,7,244,118,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ed1c3e18f130c28f61bb202a5396d3.jpg","156.1x106.3cm",[42,103],303,{"id":1638,"slug":1639,"title":1640,"dynasty":18,"author":575,"museum":167,"description":1641,"tags":1642,"thumbUrl":1645,"material":303,"size":179,"collection":42,"collections":1646,"showCount":1647,"zanCount":11,"manualWeight":48,"mainColor":49},220194,"song-xi-qing-tiao-tu-ma-yuan-220194","松溪清眺图","马远，祖籍河中（今山西永济），“靖康之变”北宋灭亡后，马远的祖父马兴祖随着宋高宗赵构南渡，因此马远是在南宋的都城临安（今浙江杭州）出生长大的。他的生卒和详细经历，很难查考。曾为南宋光宗、宁宗两朝（约1190年－1224年）的画院待诏。",[23,152,24,25,114,475,118,1643,761,1644,341,116,343,342,1473,7,206,244],"边角构图","溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf758ab459e20e424815729b0992857f.jpg",[42,124],302,{"id":1649,"slug":1650,"title":1651,"dynasty":54,"author":55,"museum":167,"description":1652,"tags":1653,"thumbUrl":1655,"material":78,"size":1656,"collection":45,"collections":1657,"showCount":1658,"zanCount":11,"manualWeight":48,"mainColor":49},219320,"chun-shan-yin-shang-zhou-chou-ying-219320","春山吟赏轴","此图绘溪山胜景，高士游春。虽是青绿之作，不见富贵，唯有逸气绕耳目，学赵伯驹，仇英得其韵矣。",[24,25,202,28,29,118,30,61,116,7,204,117,206,69,528,243,1654],"春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7562c788ce2b4470b544a9e0121bd8b5.jpg","157.5x63.2",[45],295,{"id":1660,"slug":1661,"title":1662,"dynasty":54,"author":110,"museum":514,"description":1663,"tags":1664,"thumbUrl":1666,"material":1667,"size":1668,"collection":124,"collections":1669,"showCount":1670,"zanCount":11,"manualWeight":48,"mainColor":128},222133,"qing-yuan-tu-juan-shen-zhou-222133","青园图卷","《明沈周青园图》现藏于旅顺博物馆，此图绘湖山秋色，为沈周传世珍品。该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。",[23,24,25,26,114,118,119,153,30,35,1665,7,63,64,289],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923acb9824eda51981b302865ea46a85.jpg","纸本水墨淡着色","画心纵29.1、横188.7厘米",[124,45],293,{"id":1672,"slug":1673,"title":1674,"dynasty":133,"author":355,"museum":423,"description":1554,"tags":1675,"thumbUrl":1676,"material":303,"size":179,"collection":179,"collections":1677,"showCount":1670,"zanCount":48,"manualWeight":48,"mainColor":128},214568,"shan-shui-ce-9-wang-meng-214568","山水册-9",[24,25,114,118,385,30,63,64,7,117,243,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577bb7f080f7a1cc56e6588d150fe042.jpg",[],{"id":1679,"slug":1680,"title":954,"dynasty":223,"author":1681,"museum":514,"description":1682,"tags":1683,"thumbUrl":1684,"material":303,"size":179,"collection":124,"collections":1685,"showCount":1686,"zanCount":928,"manualWeight":48,"mainColor":128},214492,"fang-gu-shan-shui-tu-cheng-ting-lu-214492","程庭鹭","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[24,114,118,60,25,153,120,30,289,64,243,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fa5973203512efafa690cc0c52a465.jpg",[124],285,{"id":1688,"slug":1689,"title":1690,"dynasty":54,"author":110,"museum":20,"description":1691,"tags":1692,"thumbUrl":1693,"material":360,"size":1694,"collection":124,"collections":1695,"showCount":1696,"zanCount":666,"manualWeight":48,"mainColor":128},234083,"wu-zhong-shan-shui-ce-shen-zhou-234083","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[24,25,385,114,30,120,153,118,116,64,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd6160b5ad1b7617f948483aa1c7c5.jpg","28.5*25.5cm",[124],282,{"id":1698,"slug":1699,"title":1700,"dynasty":18,"author":1701,"museum":167,"description":1702,"tags":1703,"thumbUrl":1706,"material":78,"size":1707,"collection":42,"collections":1708,"showCount":1696,"zanCount":48,"manualWeight":48,"mainColor":128},218931,"shan-ju-tu-yan-su-218931","山居图","燕肃","画中有一条小溪，周围是平坦的河岸，沿岸种植着松树、竹子、桃树和李子，竹林深处有三间矮小的房子，有两个人相对而坐的宣。房子左边的石墙从山的左边升起，在小路的尽头有几条远处的树。灌木丛和墨水给人一种平静和放松的感觉，让人欲罢不能。其笔触与李唐有些相似",[23,24,25,28,118,30,1704,117,7,64,502,244,1705,38],"山居","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8067a53ba755fa9d9ae85c24902de6ec.jpg","23.9x25.3",[42,124],{"id":1710,"slug":1711,"title":1712,"dynasty":18,"author":575,"museum":167,"description":1713,"tags":1714,"thumbUrl":1715,"material":122,"size":1716,"collection":124,"collections":1717,"showCount":1718,"zanCount":666,"manualWeight":48,"mainColor":128},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,24,152,25,26,114,28,118,30,117,7,64,115,63,116,156,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[124,45],280,{"id":1720,"slug":1721,"title":1722,"dynasty":54,"author":55,"museum":658,"description":1723,"tags":1724,"thumbUrl":1725,"material":415,"size":1726,"collection":124,"collections":1727,"showCount":1728,"zanCount":419,"manualWeight":48,"mainColor":49},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,24,25,152,26,27,28,29,30,63,64,62,116,1067,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 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57.6cm",[331,45],{"id":1740,"slug":1741,"title":1742,"dynasty":1743,"author":1744,"museum":1745,"description":1746,"tags":1747,"thumbUrl":1749,"material":360,"size":1750,"collection":179,"collections":1751,"showCount":1728,"zanCount":48,"manualWeight":48,"mainColor":128},220478,"jiang-shan-ru-ci-duo-jiao-tu-fu-bao-shi-220478","江山如此多娇图","民国","傅抱石","北京人民大会堂","这幅作品以全景视角铺展山河盛景，云海翻涌间，群峰若隐若现如苍龙腾跃于天地间，右侧近景山峦沉稳苍劲，古松虬枝挺拔，稳稳锚定画面重心。暖调霞光晕染穹宇，赤日高悬天际，将流云远山晕化作鎏金暖色，泼墨晕染与精细勾勒兼用，既带着传统山水画的空灵悠远，又以宏阔格局尽显山河的雄浑壮阔。笔墨之间满怀着对神州大地的热忱礼赞，将山河的厚重底蕴与东方诗意熔铸尺幅间，尽显吞吐天地的泱泱气度，让观者于画中窥见万里山河的磅礴生机。",[23,24,28,118,30,341,37,1748,7,114],"红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2da411854c3290546e3eecb3a5aa3288.jpg","纵6.5米，横9米",[],{"id":1753,"slug":1754,"title":380,"dynasty":223,"author":1755,"museum":167,"description":1756,"tags":1757,"thumbUrl":1758,"material":1759,"size":179,"collection":124,"collections":1760,"showCount":1761,"zanCount":928,"manualWeight":48,"mainColor":128},220968,"shan-shui-tu-ce-dai-xi-220968","戴熙","戴熙山水木石，所作笔调清雅，墨色腴润，颇得江浙山川韵致。虽然也是从王翚一路入手，却能别出心裁。加上清末考据与金石学的兴盛，戴熙也融入了倡导碑学的潮流，在绘画中吸取了书法篆刻的长处，以金石入画，形成了一种极其微妙的、富有创造性的绘画风格。他的山水画用笔扎实，笔笔有入木三分之感，山岚河川也由于厚重的墨笔而罩上了老成的色调，形成了画面空旷的意境。",[23,24,114,118,385,25,30,341,342,7,35,244,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f484b706b2fa645c1a92dd87054aad.jpg","水墨纸本",[124,103],276,{"id":1763,"slug":1764,"title":1765,"dynasty":223,"author":381,"museum":658,"description":1766,"tags":1767,"thumbUrl":1769,"material":303,"size":1770,"collection":124,"collections":1771,"showCount":1772,"zanCount":666,"manualWeight":48,"mainColor":49},220256,"gu-mu-chui-yin-tu-shi-tao-220256","古木垂阴图","近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。用笔皴法多变，赋色雅淡。右上角有作者长题，石涛（公元1640~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。善画山水，为清初四画僧之一。",[23,24,25,202,114,118,30,1768,117,64,37,116,7,289,153],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd206f53b4e26c9e4a001ab119062d2e.jpg","纵175,横50.7cm",[124],273,{"id":1774,"slug":1775,"title":1776,"dynasty":223,"author":1777,"museum":299,"description":1778,"tags":1779,"thumbUrl":1784,"material":78,"size":1785,"collection":331,"collections":1786,"showCount":1787,"zanCount":666,"manualWeight":48,"mainColor":128},218975,"teng-hua-shan-que-tu-jiang-ting-xi-218975","藤花山雀图","蒋廷锡","描绘缠绕椿树生长的紫藤花，另有白头翁、兰花、灵芝及湖石等元素。画作右下角款「臣蒋廷锡恭画」，左上方有康熙皇帝御题唐代岑参（715-770）〈石上藤〉一诗。该作曾录于《石渠宝笈》，后辗转流出清宫，成为阿部房次郎（1868-1937）的收藏。",[23,24,25,202,29,28,171,1780,1781,156,289,7,1782,206,244,1783],"藤花","山雀","兰花","蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8205a0f0caa95b529902b560707fb7c9.jpg","纵212.5横97.1cm",[331,45],270,{"id":1789,"slug":1790,"title":1791,"dynasty":18,"author":1792,"museum":459,"description":1793,"tags":1794,"thumbUrl":1795,"material":78,"size":1796,"collection":124,"collections":1797,"showCount":1798,"zanCount":666,"manualWeight":48,"mainColor":49},218542,"qing-lv-shan-shui-tu-wang-shen-218542","青绿山水图","王诜","绢本之上，青绿设色古雅沉静。石青与石绿随山石肌理晕染，既有郭熙山水的雄健气势，又含文人画的清逸韵致。近处山石皴染结合，松枝苍劲挺拔；山间云雾淡墨轻扫，牵起远近峰峦呼应，营造深远空间感。林麓间隐现的小屋，与葱茏草木相映，藏着古人林泉高致的向往。古朴绢色衬出岁月沉淀的温润，自然山水的雄浑与文人情怀的雅致在此相融共生，尽显北宋青绿山水的独特韵味。",[24,25,27,28,118,30,243,7,117,206,69,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa963a4c7fe39c603be18f16b97851252.jpg","93x36",[124],268,{"id":1800,"slug":1801,"title":1802,"dynasty":54,"author":55,"museum":1803,"description":1804,"tags":1805,"thumbUrl":1808,"material":1218,"size":1809,"collection":124,"collections":1810,"showCount":1811,"zanCount":666,"manualWeight":48,"mainColor":128},222206,"feng-xi-chui-diao-tu-zhou-chou-ying-222206","枫溪垂钓图轴","湖南省博物馆","此图画工细而见气势，反映了仇英的山水画的典型风格。\n画面展示了深秋辽阔的山川郊野的壮丽景色，远处楼阁隐现于山间的丛林和流动的云雾中；中景处层峦叠嶂；近景为红枫映掩的溪江上，身着素色朝服的士大夫在轻舟上静坐垂钓。\n画面高嶂巨壁，丘壑深远，笔墨健劲纯熟，设色古朴，采取传统的皴、擦、点、染相结合，使画幅气势雄阔，景致迷人，予人以心旷神怡之感。\n此图题跋印鉴较多。\n画首有清 的题诗：“枫落吴江候，烟蓬破冷浮；聊存竿线意，讵为釜鬲求。\n山色早辞夏，波光宜是秋；思莼风味在，静与日相谋。\n”落款为：“戌子秋月御题”（戌子系乾隆二十三年，即1768年）下钤有“乾隆宸翰”朱文小方印。\n图右上角钤有“乾隆御览之宝”圆形朱文印，与“淳化轩图书珍秘宝”白文方形印二方。\n图左上方钤有“淳化轩”朱文长方印“乾隆宸翰”白文大方印，“信天主人”朱文大方印，左上角钤“乾隆鉴赏”圆形白文印，下接“三希堂精鉴玺”长方形朱文印与“宜子孙”白文长方印。\n这些印都是乾隆帝钤盖在宫廷所藏的精品之上的常用印鉴。\n该图左下裱边刊有“同治三年二月江阴何栻廉眆以此桢见诒，十月初付沅甫弟珍藏。",[23,24,29,28,118,202,30,1806,32,115,61,117,639,7,1807],"枫树","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf664be593917b57e4ddec7d0838657.jpg","纵127厘米，横8.5厘米",[124,45],267,{"id":1813,"slug":1814,"title":1815,"dynasty":18,"author":1816,"museum":266,"description":1817,"tags":1818,"thumbUrl":1819,"material":303,"size":1820,"collection":44,"collections":1821,"showCount":1811,"zanCount":467,"manualWeight":48,"mainColor":128},216254,"bin-feng-qi-yue-tu-juan-ma-he-zhi-216254","豳風七月图卷","马和之","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[23,152,24,25,26,437,114,61,35,7,30,90,153,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454a660474b94e22c19af12c2a7d894.jpg","28.8 x 436.2",[44,1822],"书法精选",{"id":1824,"slug":1825,"title":1826,"dynasty":54,"author":110,"museum":20,"description":1827,"tags":1828,"thumbUrl":1829,"material":1218,"size":1830,"collection":179,"collections":1831,"showCount":1832,"zanCount":666,"manualWeight":48,"mainColor":128},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[23,24,25,26,114,28,118,30,243,7,761,64,117,116,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","37.5×65cm×4",[],266,{"id":1834,"slug":1835,"title":1836,"dynasty":18,"author":1837,"museum":20,"description":1838,"tags":1839,"thumbUrl":1841,"material":1842,"size":1843,"collection":42,"collections":1844,"showCount":1845,"zanCount":467,"manualWeight":48,"mainColor":49},220260,"song-xia-ting-qin-tu-zhao-meng-fu-220260","松下听琴图","赵孟頫","此作用青绿晕染铺展山水，层叠远山淡逸朦胧，坡岸苔点疏密错落，漾出幽寂林下氛围。几株古松虬曲苍劲，鳞皴老干垂挂松萝如翠帘轻垂，框出一方雅集天地。\n\n松下四人围坐，抚琴者垂目拨弦，听者或支颐凝思，或侧耳静聆，侍童恭立一旁，尽显文人雅聚的闲淡意趣。衣袂线条清隽简雅，暗合魏晋林下风流。题画诗与山水人物相映，笔墨间浸透知音相逢、寄怀林泉的雅兴，将丝竹之韵融在松风山色里，淡远悠长的文人情思溢满卷间。",[23,152,24,25,202,28,29,761,61,30,1840,328,7,806],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3759b8e137635ec8416cf0cc39860ba.jpg","设色,绢本","纵123.6厘米、横60.4厘米",[42],265,{"id":1847,"slug":1848,"title":1849,"dynasty":223,"author":1850,"museum":167,"description":1851,"tags":1852,"thumbUrl":1858,"material":122,"size":179,"collection":44,"collections":1859,"showCount":1860,"zanCount":666,"manualWeight":48,"mainColor":128},218044,"tian-wang-xiang-yao-wen-han-218044","天王像","姚文瀚","绿面天王身披错彩镂金之甲，琵琶横抱，双目炯炯，威仪自生。衣纹流转如流云，祥云层叠似幻梦，衬得身形愈发雄健。身旁小兽灵动，背景人物隐现于山石间，添几分悠远。线条工细却不失劲道，色彩浓艳而协调，每一处纹饰皆精雕细琢，将护法神的威严与艺术的精巧融于一体，观之令人心生敬畏，更叹笔墨之妙。",[152,24,28,29,61,923,1853,1854,1855,1856,117,7,1857,153],"护法神","琵琶","兽","祥云","威严","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3382d15bc8135db2274f9d1bbb740ad.jpg",[44],263,{"id":1862,"slug":1863,"title":1864,"dynasty":18,"author":1865,"museum":459,"description":1866,"tags":1867,"thumbUrl":1868,"material":808,"size":809,"collection":179,"collections":1869,"showCount":1870,"zanCount":419,"manualWeight":48,"mainColor":128},288524,"xiao-xiang-qi-guan-tu-mi-you-ren-288524","潇湘奇观图","米友仁","《潇湘奇观图》用淋漓水墨画江上云山、云雾变幻的奇境，山峰、江水、树木并未作具体细致的描写，追求的是苍茫雨雾中自然界的特殊韵致。\n《潇湘奇观图》的画法用泼墨又参加积墨、破墨，使墨气淋漓，氤蕴浑厚。笔法甚少勾勒，而信笔横点，积点成山，藏锋其内，与墨浑然结合。树法似草，但与画面浑然一体。",[23,152,24,26,114,30,37,7,1705,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99980652bf55d8e34d046ae41cea3fe6.jpg",[],262,{"id":1872,"slug":1873,"title":1874,"dynasty":133,"author":355,"museum":167,"description":1875,"tags":1876,"thumbUrl":1878,"material":78,"size":1879,"collection":124,"collections":1880,"showCount":1870,"zanCount":928,"manualWeight":48,"mainColor":49},218657,"song-shan-shu-wu-tu-wang-meng-218657","松山书屋图","山峦重叠，以干笔牛毛皴皴擦，松林杂树，蓊蓊郁郁，几密不透风。高士一人，展卷于茅屋中。左上角以小篆题曰「松山书屋」，通幅画作与题识方式，均展现王蒙古拙圆浑的笔韵。此帧完成于至正九年，是王蒙四十二岁之作。",[23,24,25,202,114,118,30,341,540,1877,7,117,206],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F688ec184ac7c5bc54e55285cace16b57.jpg","113x51.7cm",[124],{"id":1882,"slug":1883,"title":599,"dynasty":54,"author":1884,"museum":266,"description":1885,"tags":1886,"thumbUrl":1887,"material":303,"size":1888,"collection":124,"collections":1889,"showCount":1870,"zanCount":48,"manualWeight":48,"mainColor":128},214298,"shan-shui-tu-liu-jue-214298","刘珏","此卷是刘珏为沈周的弟弟沈召所作的山水画册，并将其修改为手卷，笔墨淋漓，用笔极其自信，使画面在扫视之间活灵活现，成为一幅完美的杰作。",[23,24,25,26,114,118,30,7,117,37,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a458237bde639af130f94491f86651.jpg","33.6x57.8",[124],{"id":1891,"slug":1892,"title":1893,"dynasty":18,"author":1894,"museum":167,"description":1895,"tags":1896,"thumbUrl":1897,"material":78,"size":1898,"collection":44,"collections":1899,"showCount":1900,"zanCount":928,"manualWeight":48,"mainColor":49},216926,"gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-di-yi-zhang-zhao-gou-216926","高宗书女孝经马和之补图第一章","赵构","高宗书女孝经马和之补图是赵构的一幅画作。赵构是中国宋朝时期的画家，他的作品大多集中在宋朝的文学、艺术和宗教方面。他的作品中有许多著名的孝道画，其中包括高宗书女孝经马和之补图。\n\n高宗书女孝经马和之补图讲述了一个关于孝道的故事。这幅画描绘了一个叫做马和的女子，她是一个忠诚的女儿，在她父亲去世后，她依然对她的父亲忠心耿耿，并为他做了许多孝事。这幅画是赵构用来表现女性孝道的精神的。\n\n高宗书女孝经马和之补图是赵构的一幅杰作，它展现了宋朝时期女性孝道的重要性，并且是中国历史上著名的孝道画之一。",[23,24,25,26,152,120,437,28,61,69,7,117,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d12d002f1f9b42abd5ddbbd30da0def.jpg","26.4x70.3",[44],258,{"id":1902,"slug":1903,"title":1904,"dynasty":54,"author":55,"museum":167,"description":1905,"tags":1906,"thumbUrl":1907,"material":122,"size":1908,"collection":124,"collections":1909,"showCount":1910,"zanCount":928,"manualWeight":48,"mainColor":128},218535,"zhu-lou-tu-qing-gao-zong-yu-ti-chou-ying-218535","竹楼图清高宗御题","画中湖光山色，长松亭榭，文人观水赏竹，画风接近文征明，也可能是文、丘在山水画上互相借鉴。",[152,24,25,202,29,28,59,30,62,540,63,64,61,117,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d460703bfb3096969313beb6e056693.jpg","115.3x33.3cm",[124],257,{"id":1912,"slug":1913,"title":1914,"dynasty":223,"author":1915,"museum":459,"description":1916,"tags":1917,"thumbUrl":1918,"material":230,"size":1919,"collection":124,"collections":1920,"showCount":1921,"zanCount":48,"manualWeight":48,"mainColor":128},236335,"lin-shen-zhou-lu-shan-gao-tu-huang-ding-236335","临沈周庐山高图","黄鼎","黄鼎（1650—1730），字尊古，号旷亭，又号闲圃、独往客，晚号净垢老人，江苏常熟 人。善画山水，初学画于邱屿雪，既而师王原祁，尤以王蒙法见长。\n此图根据明代画家沈周《庐山高图》临摹。此摹本比例与原幅不同，但是画幅的基本造型形象，笔法特点和许多细节，又都是忠实于原作，沈周原作今藏“台北故宫博物院”。",[152,24,25,60,28,118,30,204,540,117,206,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","226×83.4厘米",[124,103],255,{"id":1923,"slug":1924,"title":1925,"dynasty":18,"author":198,"museum":1926,"description":1927,"tags":1928,"thumbUrl":1929,"material":230,"size":1930,"collection":42,"collections":1931,"showCount":1921,"zanCount":928,"manualWeight":48,"mainColor":49},221415,"song-he-yan-nian-tu-zhou-fan-kuan-221415","松鹤延年图轴","苏州博物馆","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,24,25,202,28,118,30,761,1620,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0d8728a8941335a80cd12781a857b.jpg","193.1x74.4 厘米",[42,124,45],{"id":1933,"slug":1934,"title":1935,"dynasty":133,"author":909,"museum":111,"description":1936,"tags":1937,"thumbUrl":1939,"material":303,"size":1940,"collection":124,"collections":1941,"showCount":1942,"zanCount":666,"manualWeight":48,"mainColor":128},220082,"guai-shi-cong-huang-tu-ni-zan-220082","怪石丛篁图","怪石丛篁图轴，这一幅系倪瓒60 岁时所画，构图别致，山石用笔较繁。\n自跋：天妃庙里曾游处，怪石丛篁漫雨苔。今日江湖重回首，卜居南岭白云隈。 岁庚子（1360 年）十一月廿日，解后云冈道师 而纸笔皆不佳，漫尔作此，愧不能工。道师悯世忧国，以道术（德）为己任，汩汩城邑之中 不以为苦，不肯自逸（超）于风埃之表也，故 岁时，应云冈道师之请，赋诗并作画。",[24,114,30,202,118,1938,1067,204,116,7,117],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d2a6fe7d61176933aaf86ed35700e3.jpg","94.2×26.8",[124],254,{"id":1944,"slug":1945,"title":1946,"dynasty":990,"author":1947,"museum":167,"description":1948,"tags":1949,"thumbUrl":1952,"material":78,"size":1953,"collection":44,"collections":1954,"showCount":1955,"zanCount":631,"manualWeight":48,"mainColor":49},218265,"ren-wu-juan-zhou-fang-218265","人物卷","周昉","它描绘了儿童在院子里玩灯笼，而女士们聚集在一起演奏音乐。详细描述了灯笼的种类和形状，但人物的脸和衣服与周家的不一样，所以这卷书一定是由后来的艺术家复制的。",[23,24,152,25,26,29,28,61,1855,7,173,1950,1951,1525],"小孩","大人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd5d7d833562e3e6f0969c27f3c1208.jpg","30.8x220",[44],252,{"id":1957,"slug":1958,"title":1959,"dynasty":133,"author":355,"museum":459,"description":1960,"tags":1961,"thumbUrl":1963,"material":808,"size":809,"collection":179,"collections":1964,"showCount":1965,"zanCount":48,"manualWeight":48,"mainColor":49},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,152,24,114,30,202,118,117,7,62,63,64,116,153,119,1962],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":1967,"slug":1968,"title":1969,"dynasty":990,"author":991,"museum":459,"description":1970,"tags":1971,"thumbUrl":1972,"material":808,"size":809,"collection":179,"collections":1973,"showCount":1974,"zanCount":666,"manualWeight":48,"mainColor":49},289005,"wang-chuan-tu-wang-wei-289005","辋川图","《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[23,152,24,26,475,28,118,30,62,7,32,115,1704,694,1705,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a16151940e7ec69c8d6735f55d11672.jpg",[],250,{"id":1976,"slug":1977,"title":1978,"dynasty":133,"author":909,"museum":56,"description":1979,"tags":1980,"thumbUrl":1982,"material":303,"size":1983,"collection":124,"collections":1984,"showCount":1985,"zanCount":11,"manualWeight":48,"mainColor":128},220052,"qiu-lin-ye-xing-tu-ni-zan-220052","秋林野兴图","《秋林野兴图》写一仙居景致。平静的水面环绕着一段坡石，几株大树锁生其上，枝叶复苏。树间茅舍掩映，整个画面弥漫着肃静、清凉的气氛。 《秋林野兴图》笔法表现多见李成、郭熙、董源、巨然诸家之法，笔墨稳健清润，意境虚和冲融，气韵秀逸隽永。",[23,152,24,25,202,114,118,1158,7,117,116,1390,289,1981],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a5ae094663913abafe92db0881216.jpg","纵九十七厘米，横六十八点五厘米",[124],249,{"id":1987,"slug":1988,"title":1989,"dynasty":54,"author":110,"museum":20,"description":1990,"tags":1991,"thumbUrl":1992,"material":360,"size":230,"collection":124,"collections":1993,"showCount":1994,"zanCount":928,"manualWeight":48,"mainColor":128},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[23,24,25,26,30,912,114,28,118,120,119,117,7,64,63,115,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg",[124],248,{"id":1996,"slug":1997,"title":588,"dynasty":223,"author":1998,"museum":20,"description":1999,"tags":2000,"thumbUrl":2001,"material":78,"size":2002,"collection":45,"collections":2003,"showCount":2004,"zanCount":11,"manualWeight":48,"mainColor":49},219090,"han-gong-chun-xiao-tu-yuan-yao-219090","袁耀","此图名为汉代宫殿之景，实际上表现的是作者想象中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其活泼的蕴藉不仅展现出石质的厚实，同时加强了场景的动势，与工整精巧的殿宇楼阁形成粗放与华美、活泼与整洁的鲜明对比。",[24,152,59,28,29,30,62,63,64,116,7,117,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa2766d2513288b462cece660309b69.jpg","纵250厘米，横162厘米",[45],247,{"id":2006,"slug":2007,"title":2008,"dynasty":54,"author":955,"museum":167,"description":2009,"tags":2010,"thumbUrl":2011,"material":2012,"size":2013,"collection":124,"collections":2014,"showCount":2015,"zanCount":666,"manualWeight":48,"mainColor":128},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[23,152,24,25,202,114,118,60,912,30,7,117,35,32,500,674,994,540,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","纸本墨笔","96.3 x 44.8cm",[124,103],246,{"id":2017,"slug":2018,"title":396,"dynasty":18,"author":944,"museum":167,"description":2019,"tags":2020,"thumbUrl":2021,"material":78,"size":2022,"collection":124,"collections":2023,"showCount":2024,"zanCount":631,"manualWeight":48,"mainColor":49},218230,"shang-lin-tu-juan-zhao-bo-ju-218230","赵伯驹（生年不详，约卒于西元一一六二年），字千里，宋太祖七世孙，赵大年之子。仕至浙东兵马钤辖。善画山水、花果、翎毛及人物，楼阁界画尤妙。上林苑乃秦朝旧苑，汉武帝扩建。周围三百里，离宫七十所，规模宏伟。苑中饲养禽兽多种,，春秋二季皇帝时常至此围猎。本卷青绿设色，画上林苑帝王围猎情景。人物众多，车辇仪仗无一不备。",[23,24,25,26,27,28,30,61,62,7,156,117,243,38,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4585d7f14f3b12fabf2d53658317cb.jpg","44x1169.4",[124],244,{"id":2026,"slug":2027,"title":2028,"dynasty":18,"author":239,"museum":111,"description":2029,"tags":2030,"thumbUrl":2032,"material":555,"size":2033,"collection":124,"collections":2034,"showCount":2035,"zanCount":11,"manualWeight":48,"mainColor":49},220326,"you-gu-tu-guo-xi-220326","幽谷图","该图具有典型的中国西北部山川风貌，雪后的山间幽谷，高寒惨淡，山岩峻险。山下一股清泉从参差崚嶒的巉岩中喷涌而出，波撞崖壁，浪激石尖，腾起一片迷茫之气。临潭而立一块巨石，石缝中三五棵老树，枯枝上不着一叶，唯见其盘根错节，虬曲舒伸。随着山势蜿蜒而上，也使坦荡如砥的峰峤渐入眼帘，然而峰峦之间则是一道盘旋曲折的幽壑，崖边林梢丛丛，谷底寒气森森。远处的主峰如虎踞龙盘，巍然而立，下临千丈绝涧，浩渺之气，直与天接。",[23,152,24,25,202,114,118,30,244,7,500,2031],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb115b51026981c5179c63b5367e73.jpg","纵167.7cm， 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其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[23,24,152,26,30,118,28,117,7,2123,64,204,73,500,661,38],"渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[42,124,103],232,{"id":2129,"slug":2130,"title":2131,"dynasty":54,"author":2132,"museum":459,"description":2133,"tags":2134,"thumbUrl":2135,"material":1218,"size":179,"collection":179,"collections":2136,"showCount":2137,"zanCount":48,"manualWeight":48,"mainColor":49},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,25,26,60,28,114,118,30,7,117,63,64,115,116,61,358,500,661,501,38,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg",[],230,{"id":2139,"slug":2140,"title":2141,"dynasty":223,"author":381,"museum":459,"description":2142,"tags":2143,"thumbUrl":2144,"material":179,"size":179,"collection":179,"collections":2145,"showCount":2146,"zanCount":631,"manualWeight":48,"mainColor":128},224525,"sou-jin-qi-feng-da-cao-gao-tu-juan-shi-tao-224525","搜尽奇峰打草稿图卷","原济《搜尽奇峰打草稿图》卷，中国清代画家原济代表作。\n原济(1642～约171)原名朱若极，字石涛，号大涤子、清湘老人等。\n广西人。\n明宗室后裔，明亡后出家为僧。\n擅画山水、花卉。\n此图纸本，墨笔，纵42.8厘米，横285.5厘米。\n画面崇山峻岭，茂树参天，泉水淙淙，山道崎岖，纡回盘旋。\n城垣、楼阁、亭桥、书屋、渔舟等分布其间。\n全幅构图繁密，画法用披麻皴参以点子皴，信手涂抹，自然流畅，笔墨苍劲，气势磅礴。\n画幅右上方自题“搜尽奇峰打草稿”7字。\n并题记一则，内容涉及其绘画艺术思想，是研究其艺术创作的宝贵资料。\n本幅后有墨香堂、杨重英、陈奕禧、徐云、叶河音布、潘季彤各家题诗、题记及鉴藏印数十方。\n《听楼书画记》著录。\n现藏故宫博物院。",[23,24,25,26,114,228,118,120,119,153,30,243,32,7,289,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13975dcc09a4d534503a0ad3b0211bc2.jpg",[],228,{"id":2148,"slug":2149,"title":2150,"dynasty":223,"author":1998,"museum":20,"description":2151,"tags":2152,"thumbUrl":2153,"material":78,"size":2154,"collection":124,"collections":2155,"showCount":2156,"zanCount":666,"manualWeight":48,"mainColor":49},220075,"peng-lai-xian-jing-tu-yuan-yao-220075","蓬莱仙境图","袁氏父子画蓬莱仙境的作品很多，以本幅袁耀所作最为壮观。图中山形脉络皆有动势，突兀怪异；以鬼面皴法画出的山石奇形怪状，层次丰富。华丽严整的宫殿与雄伟而富有动感的山水巧妙地融合，浑然一体，形成画面中动与静、整齐与活泼的鲜明对比，气势博大。\n由于职业画家的局限，袁江、袁耀的作品在表现题材上不可避免地有所雷同，表现手法也呈现一种程式化。有古建专家认为他们画的建筑“并非清代的建筑形象，而是杂采历代画中种种不同的建筑形象，加以组合…… 从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[23,24,29,28,59,30,62,117,37,7,63,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999a1e953e91f93828c36f2429f91187.jpg","纵266.2厘米，横163厘米",[124,45],226,{"id":2158,"slug":2159,"title":2160,"dynasty":54,"author":55,"museum":266,"description":267,"tags":2161,"thumbUrl":2163,"material":78,"size":279,"collection":179,"collections":2164,"showCount":2156,"zanCount":48,"manualWeight":48,"mainColor":49},216358,"xi-xiang-ji-tu-ye-8-chou-ying-216358","西厢记图页-8",[24,29,28,59,61,170,1665,7,117,592,173,2162],"室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5046b988d6bf229c2bd14e1dcebb96ed.jpg",[],{"id":2166,"slug":2167,"title":2168,"dynasty":620,"author":2169,"museum":459,"description":2170,"tags":2171,"thumbUrl":2172,"material":808,"size":809,"collection":179,"collections":2173,"showCount":2174,"zanCount":48,"manualWeight":48,"mainColor":49},287365,"qing-lv-shan-shui-tu-ye-li-sheng-287365","青绿山水图页","李昇","擅墨竹，喜作窠石平远山水，颇有清趣。至正六年(1346)作有《淀湖送别图》卷(藏上海博物馆)，画面清波荡漾，湖上有小桥、扁舟，远望峰峦高耸，树林参差，山间古寺隐约可见，景色清幽，一派送别离人的气氛。清代词人朱彝尊很推重此画，题跋云：“松林清疏，峰岚渲以焦墨，淡林赢青作遥山，信称逸品。”",[23,24,25,30,27,28,62,63,64,117,7,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfdcad8870526ab254f3adb825fe8b72.jpg",[],225,{"id":2176,"slug":2177,"title":2178,"dynasty":18,"author":2179,"museum":167,"description":2180,"tags":2181,"thumbUrl":2183,"material":78,"size":2184,"collection":42,"collections":2185,"showCount":2174,"zanCount":666,"manualWeight":48,"mainColor":49},218132,"han-jiang-diao-ting-tu-li-cheng-218132","寒江钓艇图","李成","李成（西元九一六—九六七年），唐朝皇室后裔，五代山东人。五代北宋初为水墨山水画成熟时期，李成的松石平远，富呎尺千里气象。与北方荆浩、关同、范宽，南方董源、巨然发展成两大山水画系。\n画中高山飞瀑，岩上老松偃盖。前景巨松挺立，渔人寒江独钓。山石皴染如云状，受北宋郭熙山水画皴法影响。然用笔活泼快速，不完全拘泥于物象。由画风及题跋书风来看，应可接受为元人李郭画风作品。",[23,24,25,30,118,114,115,64,117,7,462,639,578,579,2182],"寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ae768df4f3ab356a244f10d07cd042.jpg","170x101.9cm",[42,124],{"id":2187,"slug":2188,"title":2189,"dynasty":54,"author":55,"museum":167,"description":2190,"tags":2191,"thumbUrl":2195,"material":78,"size":179,"collection":44,"collections":2196,"showCount":2197,"zanCount":11,"manualWeight":48,"mainColor":49},219367,"yi-zhu-tu-chou-ying-219367","移竹图","竹影婆娑间，数人合力抬竹、培土，动作连贯如活；池畔亭榭半掩，莲叶浮波，士人或俯身打理，或凭栏远眺，笔墨细腻处见生活真趣。设色温润古雅，青绿点缀山石，赭黄晕染土地，墨色浓淡层叠出林木深幽。移竹之雅事，既显文人爱竹之癖，亦藏生活劳作之态，以工笔之精融自然与人文于一卷，动静相宜。画面层次分明，上段林泉移竹见生机，下段亭池闲居显雅致，细节中藏匠心，尽显明代文人生活的诗意与烟火气。",[24,29,28,27,59,61,1665,7,2192,2193,117,62,2194,70,64],"荷塘","荷花","廊榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7039905c000f406bb6ce231d79361d8a.jpg",[44,45,124],222,{"id":2199,"slug":2200,"title":2201,"dynasty":990,"author":1947,"museum":459,"description":2202,"tags":2203,"thumbUrl":2204,"material":179,"size":179,"collection":179,"collections":2205,"showCount":2206,"zanCount":467,"manualWeight":48,"mainColor":49},223650,"diao-qin-chuai-ming-tu-zhou-fang-223650","调琴啜茗图","画面铺陈出一段安闲的深闺日常，丰腴端丽的仕女们浸在松弛的氛围里。左侧女子正俯身调弦，指尖起落间，仿佛已有泠泠琴音将要漫开，身侧侍女垂首持物，屏气静待。右侧仕女凭坐支颐，默然凝神，似在等候琴音漫入耳畔，身旁侍女低首伫立，敛声待命。\n画作设色柔雅清和，衣纹细劲流畅，将女子丰肌秀骨的仪态勾勒尽致。浅淡花木点缀背景，留白恰到好处，把庭院的静谧雅致烘托尽显。只以极简场景，将深闺女子慵懒温婉的情态，与平淡悠长的闲居意趣，细腻晕染，尽显仕女画的隽永韵致。",[23,24,152,29,28,170,61,806,289,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370401cc1eb8d1d6c4fbccb225172add.jpg",[],220,{"id":2208,"slug":2209,"title":2210,"dynasty":133,"author":1837,"museum":20,"description":2211,"tags":2212,"thumbUrl":2213,"material":40,"size":2214,"collection":44,"collections":2215,"showCount":2206,"zanCount":392,"manualWeight":48,"mainColor":49},220891,"qing-xi-long-yue-yu-ma-tu-juan-zhao-meng-fu-220891","青溪龙跃浴马图卷","图中绘夏日疏林间，奚官在水塘为骏马洗浴纳凉的情景。人物与马各具姿态，生动自然，相互呼应，营造了一个轻松的氛围。人物衣纹流畅，树木坡石勾勒简练，色不掩墨，青绿与浅绛结合，色彩清丽雅致。",[23,152,24,25,26,29,28,90,91,61,7,64,153,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7886ceca9be6e9768ee8afb4d0ac6d0.jpg","纵28.5厘米，横154厘米。",[44,45],{"id":2217,"slug":2218,"title":2219,"dynasty":990,"author":2220,"museum":167,"description":2221,"tags":2222,"thumbUrl":2225,"material":78,"size":2226,"collection":124,"collections":2227,"showCount":2206,"zanCount":11,"manualWeight":48,"mainColor":49},218963,"chun-shan-xing-lv-tu-li-zhao-dao-218963","春山行旅图","李昭道","这幅画描绘了唐明皇在前往四川寻求庇护以躲避安史之乱的途中放弃长安的场景。\n画面以绿色为主色调，有山有水，枝繁叶茂，春意盎然，二十多个人和十几匹马结伴而行，在蜿蜒而荒芜的道路上可以看到人影。虽然场景是春天，马儿在滚动，人们靠着树休息，看起来很轻松，但通往圣地的道路和沿途的崎岖转弯的气氛也会让人觉得很困难。\n该场景用细密的笔触勾勒出线条，然后用绿色和蓝色作画，使其优雅而美丽。",[23,24,25,27,28,30,61,62,117,7,426,205,207,2223,2224],"云气","勾勒填色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f5bf3ce17fdd366423076e69f86db4.jpg","95.5x55.3厘米",[124],{"id":2229,"slug":2230,"title":2231,"dynasty":620,"author":2232,"museum":167,"description":2233,"tags":2234,"thumbUrl":2235,"material":78,"size":2236,"collection":124,"collections":2237,"showCount":2238,"zanCount":467,"manualWeight":48,"mainColor":49},218904,"xiao-yi-zhuan-lan-ting-tu-ju-ran-218904","萧翼赚兰亭图","巨然","这幅画描绘萧翼赚兰亭图的故事。唐太宗酷爱王羲之、王献之的书法，听说辩才和尚藏有羲之兰亭序真迹，于是派遣御史萧翼设法谋取。翼便以书生的打扮，先与辩才交游，两人常以诗文酬答，情感融洽，渐渐地，辩才对翼不加防备。有一天，趁辩才和尚外出，翼便偷走兰亭真迹",[23,24,202,114,118,30,7,63,64,244,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f67dfbeda3e115e84b0798018f410e.jpg","144.1x59.6",[124],219,{"id":2240,"slug":2241,"title":2242,"dynasty":54,"author":55,"museum":266,"description":267,"tags":2243,"thumbUrl":2247,"material":78,"size":279,"collection":179,"collections":2248,"showCount":2249,"zanCount":48,"manualWeight":48,"mainColor":49},216361,"xi-xiang-ji-tu-ye-3-chou-ying-216361","西厢记图页-3",[24,29,28,59,2244,61,170,2245,62,7,2193,2246,173,70],"册页","男子","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8160bed9793b09c0f8860270b639bc52.jpg",[],218,{"id":2251,"slug":2252,"title":2253,"dynasty":54,"author":801,"museum":20,"description":2254,"tags":2255,"thumbUrl":2256,"material":1218,"size":2257,"collection":124,"collections":2258,"showCount":2259,"zanCount":11,"manualWeight":48,"mainColor":49},222332,"shi-ming-tu-quan-juan-tang-yin-222332","事茗图全卷","本幅中作者自题：“日長何所事，茗碗自賚持。料得南窗下，清風滿鬢絲。吳趨唐寅。”钤“唐居士”。\n“事茗”姓陈，为王宠友邻，与唐寅交往亦甚密。唐寅以陈氏名号为题作此图，并将“事茗”二字嵌入题诗中。此图布局别出新意，虚实相生，层次分明。近景巨石侧立，巨石墨色浓黑，皴擦细腻，凹凸清晰可辨。屋舍、坡岸淡雅清润，屋中主人临窗品茗，描绘出幽静宜人的理想化的生活环境。透过画面，似可听到潺潺的流水，闻到淡淡的茶香。\n本幅中另有清乾隆御笔题记：“记得惠山精舍里，竹罏沦茗绿杯持。解元文笔闲相仿，消渴何劳玉虎丝。甲戌闰四月雨余，几暇偶展此卷，因摹其意，即用卷中原韵题之，并书于此。御笔。”钤印“古香”白文方、“太缶”朱文方。尾纸陆粲款署：“嘉靖乙未孟秋之吉，平原陆粲著。”钤印“陆氏浚明”白文方、“贞山”朱文方。鉴藏印钤：耿昭忠“丹诚”、“千山耿信公书画之章”、“信公珍赏”、“信公鉴定珍藏”、“琴书堂”、“都尉耿信公书画之章”；耿嘉祚“耿会侯鉴定书画之章”、“耿嘉祚印”、“耿湛恩章”、“湛恩记”、“漱六主人印”；索额图“也园索氏收藏书画”、“长白索氏珍藏图书印”、“九如清玩”、“乐庵”、“乐圣且衔杯”、“御赐忠孝堂长白山索氏珍藏”等诸家印记多方，另有清内府鉴藏诸印。\n清内府《石渠宝笈·初编》卷十五著录。",[23,24,25,26,114,28,30,61,358,7,117,64,119,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3579c3ee10391bfe105f8f09fe4d831d.jpg","纵31.1厘米，横105.8厘米",[124,45],217,{"id":2261,"slug":2262,"title":2263,"dynasty":18,"author":713,"museum":423,"description":2264,"tags":2265,"thumbUrl":2266,"material":78,"size":179,"collection":124,"collections":2267,"showCount":2259,"zanCount":928,"manualWeight":48,"mainColor":49},218580,"he-ting-xiao-xia-tu-liu-song-nian-218580","荷亭消夏图","竹影筛风，亭榭浮凉。几竿修竹环绕临水敞亭，亭中素衣人或凭栏观荷，或闲坐展卷，墨香混着竹韵漫开。下方溪流清浅，碎石错落，一士人曳杖徐行，童子负物紧随，身影在树荫与水光间轻晃。山石以细皴晕染，纹理温润如触；竹叶用劲挺笔触勾勒，层次疏密有致。\n\n风过竹梢的沙沙声，溪水叮咚的回响，与亭中人的静默相映，滤去夏日燥热，只留清幽雅致。笔墨细腻却不繁缛，每处细节都藏着宋时文人的闲适——仿佛能隔着千年，触到竹间那缕凉意，窥见他们把暑气酿成诗意的模样。整幅画如同一盏冰茶，入口清润，余味悠长。",[24,152,25,202,29,118,30,61,116,1067,64,117,7,206,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5d87850a086dc74d33f9a716e43966.jpg",[124],{"id":2269,"slug":2270,"title":2271,"dynasty":990,"author":991,"museum":423,"description":2272,"tags":2273,"thumbUrl":2274,"material":140,"size":2275,"collection":179,"collections":2276,"showCount":2277,"zanCount":48,"manualWeight":48,"mainColor":49},232621,"e-pang-gong-tu-juan-wang-wei-232621","阿房宫图卷","提到王维，人们都会想到他的朗朗上口的诗文，比如空山新雨后，天气晚来秋；比如独在异乡为异客，每逢佳节倍思亲；再比如红豆生南国，春来发几枝等等。他也是我很喜欢的一位诗人。其实他是唐朝书，画，诗三方面都很有成就的一个人。\n王维，字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。\n王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,24,25,26,28,27,59,29,30,62,63,61,117,7,69,2223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fac5623a6e549db33830a4f701ceb37.jpg","纵194.5cm，横60.5cm",[],214,{"id":2279,"slug":2280,"title":2281,"dynasty":54,"author":955,"museum":167,"description":2282,"tags":2283,"thumbUrl":2284,"material":360,"size":2285,"collection":124,"collections":2286,"showCount":2287,"zanCount":48,"manualWeight":48,"mainColor":128},220930,"fang-ni-zan-bi-yi-zhou-dong-qi-chang-220930","仿倪瓒笔意轴","董其昌题跋提到曾于苏州王禹声家中见过一幅倪瓒画山水，画上书宋僧法具四首绝句。此作不但追摹倪瓒风格，亦仿原画题诗其上，然依记忆仅抄录其中三首，或因此与原诗稍有出入。王禹声为名宦王鏊（1450-1524）曾孙，曾任承天知府，与董其昌为同榜进士。此作将倪瓒一河两岸式的构图，改为多重山体、水面向远方延伸的深远空间，并倾斜山根水脚所在平面，让画面呈现向左下倾斜的微妙动势；画中林木更见丰盛，山形亦多变而结实，然透过折带皴与带状绵延远山，仍流露出倪瓒画作雅澹的格调。",[23,152,24,25,202,114,30,60,118,120,153,289,7,343,32,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bd10a4aa8afb51c75dc35585ca53cb.jpg","纵138.8cm，横47cm",[124,103],213,{"id":2289,"slug":2290,"title":2291,"dynasty":18,"author":312,"museum":56,"description":2292,"tags":2293,"thumbUrl":2299,"material":555,"size":2300,"collection":42,"collections":2301,"showCount":2302,"zanCount":928,"manualWeight":48,"mainColor":49},220420,"shan-shi-qing-lan-tu-xia-gui-220420","山市晴岚图","昭山，位于湘潭，长沙交界处，离城20公里，突兀挺立在湘江东岸，是湘潭市的北大门。每逢雨后新晴，或是旭日破晓，万丈霞光撒在山间，雨气氤氲，色彩缤纷，美而壮观。北宋大书画家米芾将这一景观绘成《山市晴岚图》，列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[24,25,114,30,202,118,243,7,209,117,995,501,37,2294,2295,1300,2296,2297,2298],"晴岚","杂树","村舍","水墨渲染","南宋山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36e5dcf9afd9b288e69532ac5390b9f.jpg","24.8×21.3cm",[42,103],212,{"id":2304,"slug":2305,"title":2306,"dynasty":54,"author":55,"museum":266,"description":267,"tags":2307,"thumbUrl":2308,"material":78,"size":279,"collection":179,"collections":2309,"showCount":2302,"zanCount":48,"manualWeight":48,"mainColor":49},216357,"xi-xiang-ji-tu-ye-7-chou-ying-216357","西厢记图页-7",[152,24,25,28,29,61,62,64,170,1067,70,7,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2092ecff88dc4c51551d1cdeaf7c87.jpg",[],{"id":2311,"slug":2312,"title":2313,"dynasty":54,"author":537,"museum":1202,"description":2314,"tags":2315,"thumbUrl":2317,"material":303,"size":2318,"collection":124,"collections":2319,"showCount":2320,"zanCount":928,"manualWeight":48,"mainColor":128},218246,"zhong-ting-bu-yue-tu-wen-zheng-ming-218246","中庭步月图","《中庭步月图》描绘的是文徵明自京师返回六年后（1532）一个初冬的月夜与来客啜茶聚餐后步于园中赏月话旧的真实记录，款有“风檐石鼎燃湘竹，夜久香浮乳花熟”和“命僮子烹苦茗等茶事记录。该图与苏东坡《记承天寺夜游》一文中描写的境界相同，全画笔墨洒脱清雅，画风平稳细净、明秀简雅，恰如其分地表现了这个特定环境中的情感世界。画风兼乎于“粗文”“细文”之间，工整文静中不失粗放清旷，雄浑气象，是文征明在这一年龄阶段所呈现出来的特有的风格特色，从中可明确感受到文征明绘画风格演变的一些基本脉络。",[24,25,114,118,120,119,61,7,2316,69,579],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe584a4868045e12b6c6e719755dcfb31.jpg","纵147.6厘米，横50.5厘米",[124],210,{"id":2322,"slug":2323,"title":2324,"dynasty":223,"author":513,"museum":514,"description":515,"tags":2325,"thumbUrl":2326,"material":78,"size":518,"collection":179,"collections":2327,"showCount":2320,"zanCount":928,"manualWeight":48,"mainColor":49},214431,"xiu-yuan-tu-4-wang-yun-214431","休园图-4",[23,24,28,59,29,62,7,117,2316,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a073b1ae9a5267aafce1e667ff03c94.jpg",[],{"id":2329,"slug":2330,"title":2331,"dynasty":223,"author":2332,"museum":111,"description":2333,"tags":2334,"thumbUrl":2337,"material":122,"size":2338,"collection":331,"collections":2339,"showCount":2340,"zanCount":928,"manualWeight":48,"mainColor":128},218903,"hua-niao-tu-zhou-shen-quan-218903","花鸟图轴","沈铨","沈铨善绘花鸟翎毛，用笔细腻传神，设色富贵浓艳。他的绘画多以描绘松、梅、竹、鹿、鹤、雉等寓意祥瑞富贵的题材为多。是图设色名丽脱俗，极富装饰性。琵琶树下，繁花斗艳，一对锦鸡嬉戏其间，树梢果实累累，绿叶掩映，群鸟相鸣，给人喜庆祥和的视觉感受。此作绘于乾隆二十七年（壬午，1762），作者时年八十一岁。",[152,24,29,28,171,156,7,2335,2336,117],"花朵","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab98048035316f1f40ef1a094497f236.jpg","纵171.6厘米，横95.9 厘米",[331],209,{"id":2342,"slug":2343,"title":2344,"dynasty":54,"author":955,"museum":423,"description":2345,"tags":2346,"thumbUrl":2347,"material":122,"size":179,"collection":124,"collections":2348,"showCount":2340,"zanCount":928,"manualWeight":48,"mainColor":128},217035,"fang-gu-shan-shui-ce-liu-kai-dong-qi-chang-217035","仿古山水册六开","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,25,385,114,28,30,289,7,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c86fc6883114d3cb2271f4635b98dd.jpg",[124],{"id":2350,"slug":2351,"title":2352,"dynasty":990,"author":2220,"museum":167,"description":2353,"tags":2354,"thumbUrl":2355,"material":78,"size":2356,"collection":124,"collections":2357,"showCount":2358,"zanCount":928,"manualWeight":48,"mainColor":49},214748,"qu-jiang-tu-li-zhao-dao-214748","曲江图","李昭道（675年－758年），字希俊，陇西成纪 （今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[152,24,25,26,27,28,29,59,30,62,61,64,66,7,676,36,1621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","171.2x111.3",[124],208,{"id":2360,"slug":2361,"title":2362,"dynasty":18,"author":312,"museum":167,"description":2363,"tags":2364,"thumbUrl":2365,"material":555,"size":2366,"collection":42,"collections":2367,"showCount":2368,"zanCount":928,"manualWeight":48,"mainColor":49},218864,"xi-shan-gao-yi-tu-xia-gui-218864","溪山高逸图","山石以劲挺斧劈皴勾勒，棱角如剑刃划破烟岚，却含苍润之气。树木疏朗，枝干屈铁盘结，墨色浓淡相济，叶簇攒云般摇曳，似在风中低语清寂。构图于层峦间藏空灵：远山隐黛，近树扶疏，溪涧凉意从林木间隙渗出，未绘却已感知。\n\n整幅画以极简笔墨写尽“高逸”：无喧嚣，唯山风穿林轻响；无俗事，唯隐者静观天地。树后茅舍隐约，似有高士凭窗，将尘心托付烟霞，精神游弋林泉。苍劲中见温婉，疏淡里藏深情——恰如宋人对自然的敬畏，对自由的向往，尽在咫尺画卷间，让观者也随笔墨潜入山林，暂忘尘扰。",[23,24,30,118,114,202,579,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83a500324062626de8322a3fc16b72d.jpg","45.5x36.5厘米",[42,124],207,{"id":2370,"slug":2371,"title":2372,"dynasty":54,"author":110,"museum":459,"description":2373,"tags":2374,"thumbUrl":2376,"material":808,"size":809,"collection":179,"collections":2377,"showCount":2378,"zanCount":666,"manualWeight":48,"mainColor":1138},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,152,24,25,26,114,28,30,358,1067,7,117,63,116,120,153,2375],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":2380,"slug":2381,"title":2382,"dynasty":54,"author":55,"museum":20,"description":2383,"tags":2384,"thumbUrl":2386,"material":78,"size":2387,"collection":124,"collections":2388,"showCount":2378,"zanCount":631,"manualWeight":48,"mainColor":128},216385,"zhi-gong-tu-juan-chou-ying-216385","职贡图卷","字实父，号十洲，江苏太仓人，寓居苏州。初为漆工，后改学绘画。移居苏州后得识文徵明，并拜周臣为师，主宗南宋“院体”，形成以严谨劲利为主调的艺术风格。中年时画名渐起，经常接受富商和收藏家邀请，至其家中作画。嘉靖十六年（1537年）应昆山鉴藏家周凤来延聘居其家六年。尔后又至嘉兴大收藏家项元汴家作画，长达十余年，其间广泛接触、观摩和临摹古代名迹，技艺大进，尤其在继承唐宋传统的工笔重彩人物和青绿山水方面取得了突出成就。晚年与文徵明父子及其门生交往密切，又吸取了“吴派”文人画之长，使作品增添了清雅的气息，其声誉与沈、文、唐相并埓，有“吴门四家”之称。",[23,24,26,25,29,27,28,61,30,7,68,2385,119,120],"职贡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147faf5fa860f47d5379f373a9bfd3bd.jpg","29.5*580.3",[124,44],{"id":2390,"slug":2391,"title":2392,"dynasty":54,"author":434,"museum":459,"description":2393,"tags":2394,"thumbUrl":2396,"material":179,"size":179,"collection":179,"collections":2397,"showCount":2398,"zanCount":666,"manualWeight":48,"mainColor":128},235322,"shen-zhou-xi-shan-wan-zhao-tu-zhou-yi-ming-235322","沈周溪山晚照图轴","此作用高远章法铺陈，上部危崖耸峙，飞泉自谷间垂落，苍劲皴笔勾勒出嶙峋厚重的山石肌理。下部溪岸错落，疏林亭亭，茅舍隐于陂岸之后，淡墨晕染出薄暮空濛之境。\n\n笔墨带着吴门画派的文人情致，枯湿浓淡相宜，简淡中见苍润。诗画合璧，将山居暮色里的幽寂禅意娓娓道来，林泉高致的雅兴融于尺幅，静穆空远，尽显晚照溪山的澹然逸趣。",[24,25,202,114,30,64,204,7,117,2395,118],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bbddeb071a1e562b0706ec6e36e9088.jpg",[],203,{"id":2400,"slug":2401,"title":2402,"dynasty":54,"author":2403,"museum":459,"description":2404,"tags":2405,"thumbUrl":2409,"material":179,"size":179,"collection":179,"collections":2410,"showCount":2411,"zanCount":666,"manualWeight":48,"mainColor":49},228390,"kong-que-mu-dan-tu-yin-hong-228390","孔雀牡丹图","殷宏","垂柳柔条轻曳，桃枝缀满繁花，引百鸟穿梭啼鸣。孔雀身披彩翎，羽斑环环相扣明丽夺目，信步于湖石之侧，气度雍容不凡。牡丹或素洁似雪，或秾艳若霞，与苍古湖石、翠色草木交织成趣，仙鹤亭亭而立更添清贵。\n整幅画笔致工细，设色妍雅柔和，将春日园林的富贵生机铺陈眼前，把翎毛花卉的灵动雅致糅合无间，尽显吉祥富丽的美好意涵，是极具代表性的工笔花鸟佳作。",[23,152,24,25,2406,28,29,171,172,567,7,2407,117,2335,2408,156],"明代","柳枝","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1384e37440b3476c7844a32e3504f3.jpg",[],202,{"id":2413,"slug":2414,"title":2415,"dynasty":620,"author":2232,"museum":167,"description":2416,"tags":2417,"thumbUrl":2423,"material":177,"size":2424,"collection":179,"collections":2425,"showCount":2426,"zanCount":11,"manualWeight":48,"mainColor":49},226701,"ceng-yan-cong-shu-tu-ju-ran-226701","层岩丛树图","此图描绘了江南雨后山林烟岚浮动的自然景象，画中峰峦耸峙，丛林茂密，山路深曲，充满清新潮湿的气息。作者用独特的画法表现出一种秀逸、静寂、朦胧的美，是一幅具有代表性的山水画作。",[23,152,24,25,202,114,118,30,2418,2419,117,7,243,2420,2421,2422],"层岩","丛树","叠嶂","林木","岩峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4699ce8ccb516e2fed794a4a198591.jpg","纵144.1厘米，横55.4厘米",[],201,{"id":2428,"slug":2429,"title":2430,"dynasty":620,"author":2232,"museum":167,"description":2431,"tags":2432,"thumbUrl":2433,"material":114,"size":2434,"collection":124,"collections":2435,"showCount":2426,"zanCount":11,"manualWeight":48,"mainColor":49},218919,"han-lin-wan-xiu-tu-ju-ran-218919","寒林晚岫图","这幅画，是朱兰的作品，不属于这个时代，紧邻的岩石有范宽后来的点画作品。",[23,24,152,202,114,118,30,7,994,244,342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ba4e2edb0dc0091afcb4c19d82515c.jpg","139.7x55.8",[124],{"id":2437,"slug":2438,"title":2439,"dynasty":54,"author":801,"museum":266,"description":2440,"tags":2441,"thumbUrl":2442,"material":28,"size":179,"collection":45,"collections":2443,"showCount":2444,"zanCount":666,"manualWeight":48,"mainColor":49},219250,"chun-shan-you-qi-tu-tang-yin-219250","春山游骑图","层岩叠嶂间，松涛与溪流相和。板桥之上，游骑缓行，衣袂带风；山间茅舍旁，雅士或谈或立，意趣悠然。山石勾勒劲挺，皴染兼具刚柔，尽显嶙峋之态；林木疏密有致，春枝带露，点点新红缀于枝桠，春意盎然。整幅画融自然之秀与人文之雅，藏着明代文人寄情山水的闲逸心怀——山行的清欢，友聚的惬意，都在笔墨间流转，每一处细节都似在诉说春日里与山水相逢的诗意。",[23,24,25,28,118,30,61,90,63,64,117,7,154,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9d535bdc2346ee40e7ff15b0a6f825.jpg",[45],199,{"id":2446,"slug":2447,"title":2448,"dynasty":223,"author":513,"museum":514,"description":515,"tags":2449,"thumbUrl":2452,"material":78,"size":518,"collection":179,"collections":2453,"showCount":2444,"zanCount":928,"manualWeight":48,"mainColor":49},214432,"xiu-yuan-tu-3-wang-yun-214432","休园图-3",[23,24,25,29,28,59,116,2450,7,1665,156,61,70,694,69,2451],"回廊","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f04a94cbad1ffb2d8f40ee56dc85b8.jpg",[],{"id":2455,"slug":2456,"title":2457,"dynasty":54,"author":955,"museum":2458,"description":2459,"tags":2460,"thumbUrl":2461,"material":385,"size":2462,"collection":124,"collections":2463,"showCount":2464,"zanCount":48,"manualWeight":48,"mainColor":179},220755,"fang-ge-jia-shan-shui-tu-ce-dong-qi-chang-220755","仿各家山水图册","香港中文大学文物馆","此作用笔松秀虚灵，以淡墨勾勒山峦，披麻皴浅敷石面，远岫连绵错落，间以茂林点缀，烟气空濛间漾出幽远静谧。\n\n近岸古木虬曲，枝干舒展如篆籀笔法，木叶疏密得宜，衬出院舍茅庐隐于林间，板桥卧波轻接水岸，野趣悠然。全画以简驭繁，笔墨间带着萧散简远的韵致，淡墨轻岚间尽显平淡天真的文人意趣，简淡中藏雄浑气韵，尽显文人山水的清逸格调。",[23,24,25,385,114,118,60,30,579,63,64,117,35,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ce2531c6f731b92b3d70dff3ad849.jpg","30.5 × 23.8厘米",[124],198,{"id":2466,"slug":2467,"title":2468,"dynasty":18,"author":239,"museum":167,"description":2469,"tags":2470,"thumbUrl":2471,"material":78,"size":2472,"collection":42,"collections":2473,"showCount":2464,"zanCount":928,"manualWeight":48,"mainColor":49},220227,"guan-shan-chun-xue-tu-guo-xi-220227","关山春雪图","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[23,24,475,118,114,341,747,7,69,204,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c61b8007643b9b3921aa749500eaf33.jpg","纵197.1厘米，横51.2厘米",[42,124],{"id":2475,"slug":2476,"title":197,"dynasty":133,"author":434,"museum":20,"description":2477,"tags":2478,"thumbUrl":2479,"material":78,"size":2480,"collection":124,"collections":2481,"showCount":2464,"zanCount":928,"manualWeight":48,"mainColor":49},218083,"xi-shan-xing-lv-tu-yi-ming-218083","溪山行旅图是元朝时期的一幅名画，出自佚名画家之手。这幅画描绘了一位旅人在溪山间游玩的情景。\n\n在画面的左侧，可以看到一座小山丘，上面种满了树木。旅人正站在山丘的山顶上，俯视着前方的景色。他手持竹筒，似乎是在欣赏周围的美景。\n\n在画面的右侧，是一条清澈的小溪，溪水潺潺流过。旅人似乎正准备沿着小溪走去，去寻找下一个游玩的地方。\n\n整幅画的画风浑然天成，笔触轻柔，描绘了大自然的美丽景色。这幅画不仅是一幅艺术作品，也是对元朝时期生活的一个精彩纪录。",[24,114,28,118,30,115,117,579,64,243,7,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f2b220aace68ac2f2e8d66ba147f2c.jpg","110.5x176.5cm",[124],{"id":2483,"slug":2484,"title":2485,"dynasty":18,"author":2052,"museum":167,"description":2486,"tags":2487,"thumbUrl":2488,"material":78,"size":2489,"collection":42,"collections":2490,"showCount":2491,"zanCount":11,"manualWeight":48,"mainColor":49},220440,"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","这幅画描绘了神山海屋之中列仙相对而坐，童子搬筒筹开算，白鹤翔舞于祥云之上的情景。\n李嵩（1166-1243），宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190―1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。",[23,24,25,202,28,59,29,61,62,63,156,30,7,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[42,44,45],197,{"id":2493,"slug":2494,"title":2495,"dynasty":223,"author":647,"museum":382,"description":2496,"tags":2497,"thumbUrl":2498,"material":122,"size":2499,"collection":124,"collections":2500,"showCount":2501,"zanCount":11,"manualWeight":48,"mainColor":128},217882,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217882","仿黄公望山水图","王原祁是清朝时期的一位著名画家。他的著名作品之一是《仿黄公望山水图》。这幅画描绘了一片山水风光，栩栩如生，富有情感。\n\n画中还有许多树木，树冠翠绿，繁茂葱茏。这些树木为画面增添了一份自然之美。在远处，还有一座小山村，山村虽小，却热闹非凡。山村中的人们忙碌于农活，虽繁忙，但却感到无比的幸福。\n\n总的来说，《仿黄公望山水图》是一幅优美的山水画，王原祁用笔墨勾勒出了一片美丽的山水风光，让人感受到大自然的魅力。",[23,24,25,30,114,118,60,117,7,206,116,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e2c03c42a5d5143baef473d62673f.jpg","132.6x51.2cm",[124],196,{"id":2503,"slug":2504,"title":2505,"dynasty":223,"author":472,"museum":368,"description":2506,"tags":2507,"thumbUrl":2509,"material":122,"size":2510,"collection":45,"collections":2511,"showCount":2512,"zanCount":928,"manualWeight":48,"mainColor":128},220000,"shan-shui-hua-han-shi-hou-yi-ri-hua-yu-xi-tian-mao-she-wang-shi-min-220000","山水画-寒食后一日画于西田茅舍","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,25,114,28,118,30,341,1473,7,1705,37,502,2508],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a4fe667946ab4386529b843dc33e21.jpg","22.5x27.5",[45],195,{"id":2514,"slug":2515,"title":2516,"dynasty":54,"author":55,"museum":1443,"description":2517,"tags":2518,"thumbUrl":2519,"material":140,"size":2520,"collection":124,"collections":2521,"showCount":2522,"zanCount":11,"manualWeight":48,"mainColor":128},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,24,25,26,27,28,29,120,119,30,115,61,116,64,63,62,7,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[124,45],193,{"id":2524,"slug":2525,"title":2526,"dynasty":133,"author":2527,"museum":167,"description":2528,"tags":2529,"thumbUrl":2530,"material":316,"size":2531,"collection":124,"collections":2532,"showCount":2522,"zanCount":631,"manualWeight":48,"mainColor":49},221737,"lu-yu-peng-cha-tu-zhao-yuan-221737","陆羽烹茶图","赵原","此画远山绵延起伏，近山巍峨，山水清幽，布局重山复水，水势承“之”字形环绕，营造出百转千回的气势。近处广水，有茅草屋临水而筑，四面草木繁盛，曲径通幽处一条小道延伸出画面，仿佛此处隐秘于山林间。阁内一人，扶膝踞坐于榻上，应为陆羽，一童子拥炉烹茶跽于一侧。作者自题“陆羽烹茶图”，并题诗一首：山中茅屋是谁家，兀坐闲吟到日斜。俗客不来山鸟散，呼童汲水煮新茶。",[23,24,25,26,114,118,30,116,63,64,7,61,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[124,103],{"id":2534,"slug":2535,"title":2536,"dynasty":54,"author":55,"museum":167,"description":2537,"tags":2538,"thumbUrl":2539,"material":78,"size":2540,"collection":45,"collections":2541,"showCount":2522,"zanCount":48,"manualWeight":48,"mainColor":49},219315,"yuan-lin-qing-ke-tu-zhou-chou-ying-219315","园林清课图轴","林竹繁茂的乡野，有一座院落人家，院中布置著厅堂、房舍、书斋、作坊；穿过花篱是为园池区，馆舍、亭榭围绕池畔而构筑。有读书、涤砚、纺纱、游园等活动。使富有园林之胜的画面，充满雅逸的生活情趣。",[152,24,29,28,59,694,62,30,7,61,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5236c98ca348fc2e3b6d92db44b00431.jpg","82.8x106.5",[45],{"id":2543,"slug":2544,"title":2545,"dynasty":54,"author":1510,"museum":56,"description":2546,"tags":2547,"thumbUrl":2549,"material":78,"size":179,"collection":44,"collections":2550,"showCount":2522,"zanCount":928,"manualWeight":48,"mainColor":128},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[23,24,25,26,114,28,29,118,30,61,116,63,64,7,1473,119,2548],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[44],{"id":2552,"slug":2553,"title":2554,"dynasty":18,"author":434,"museum":20,"description":2555,"tags":2556,"thumbUrl":2557,"material":2558,"size":2559,"collection":42,"collections":2560,"showCount":2561,"zanCount":928,"manualWeight":48,"mainColor":49},223549,"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,26,29,28,437,61,170,30,726,1124,156,7,117,62,90,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[42,44,45],192,{"id":2563,"slug":2564,"title":2565,"dynasty":54,"author":2566,"museum":382,"description":2567,"tags":2568,"thumbUrl":2574,"material":78,"size":2575,"collection":44,"collections":2576,"showCount":2561,"zanCount":631,"manualWeight":48,"mainColor":49},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[23,152,24,25,202,59,28,29,2569,62,399,61,90,2570,69,2571,1145,2572,2573,7,36,93],"宫城","驴","城池","官员","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[44,45],{"id":2578,"slug":2579,"title":2580,"dynasty":133,"author":134,"museum":20,"description":2581,"tags":2582,"thumbUrl":2583,"material":1218,"size":2584,"collection":124,"collections":2585,"showCount":2586,"zanCount":11,"manualWeight":48,"mainColor":128},220762,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-220762","丹崖玉树图轴","图中山峦重叠，高松杂树遍布窠石坡岸之上，梵寺仙观掩映于山石林木之中，溪流迴转，云烟缭绕，一派深远优美的意境。黄公望曾谓：“作山水者，必以董为师法，如吟诗之学杜也。”此图便是以董源、巨然创造的披麻皴手法写成，并以水墨浅绛设色。\n由于是在纸本上作画，作者较其《天池石壁图》、《九峰雪霁图》等绢本作品更充分地发挥了笔墨融合的韵味，用笔松秀，点染随意，潇洒自如，在不着笔处衬出迷蒙浮动的云烟雾气，虚实开合，愈增添了山水的灵秀，故虽崇山满纸而无迫塞之感。王原祁评黄氏画作曾云：“每见其布景用笔，于浑厚中仍饶逋峭，苍莽中转见娟妍，纤细而气益闳，填塞而境愈廓，意味无穷。”此作堪为代表。",[24,25,202,114,30,117,7,118,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d47a387eca670a16b7feb78d3aa3088.jpg","纵101.3厘米，横43.8厘米",[124,103],191,{"id":2588,"slug":2589,"title":2590,"dynasty":223,"author":1431,"museum":111,"description":2591,"tags":2592,"thumbUrl":2593,"material":360,"size":2594,"collection":124,"collections":2595,"showCount":2586,"zanCount":928,"manualWeight":48,"mainColor":128},219857,"ba-jing-shan-shui-tu-gong-xian-219857","八景山水图","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[24,152,25,114,118,30,63,64,116,540,358,244,204,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755626b038e7687bb9727373859aa345.jpg","24.4x49.7厘米",[124],{"id":2597,"slug":2598,"title":2599,"dynasty":133,"author":134,"museum":459,"description":2600,"tags":2601,"thumbUrl":2602,"material":179,"size":179,"collection":179,"collections":2603,"showCount":2604,"zanCount":48,"manualWeight":48,"mainColor":128},228251,"fu-chun-shan-ju-tu-zi-ming-juan-huang-gong-wang-228251","富春山居图子明卷","以淡墨干皴晕染富春丘壑，峰峦坡陀缓缓铺展，林木萧疏错落，晕开江南初秋的空寂淡远。用笔松秀灵动，线条温润苍劲，墨色干湿浓淡层次丰盈，晕染出山川悠远的氤氲清气。\n卷后题跋与山水相映，文心画意相融无间，尽显文人画的雅致意趣。整卷意境简远高迈，将天地山川的沉静澹泊与文人林下襟怀合而为一，如一首悠然山水长诗，引观画人步入富春烟岚之间，沉醉在清和淡远的隐逸之美中。",[24,25,26,114,30,118,153,119,120,117,7,579,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e1e10a7fb6bfbb26013f2f77df7d9b.jpg",[],189,{"id":2606,"slug":2607,"title":770,"dynasty":18,"author":1865,"museum":111,"description":2608,"tags":2609,"thumbUrl":2610,"material":303,"size":179,"collection":124,"collections":2611,"showCount":2612,"zanCount":11,"manualWeight":48,"mainColor":128},218592,"xiao-xiang-tu-mi-you-ren-218592","图绘三湘、九嶷之际，山峦逶迤、江水迷茫、杂木疏落、白云浮动之雨后景色，于一派空濛中，流露出清润的气氛。全图大都用淡墨晕染和点染，于树干、山凹、屋脊等处以重墨勾染，显出空间层次。云气或线勾或墨晕，工整而不呆板。此图与他另一幅《潇湘奇观图》画法一致，同为水墨云山的典型之作。",[24,25,26,114,118,30,37,7,153,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab948642dad21d5beec814b81b41d5c.jpg",[124],188,{"id":2614,"slug":2615,"title":2616,"dynasty":54,"author":955,"museum":167,"description":2617,"tags":2618,"thumbUrl":2619,"material":2620,"size":179,"collection":124,"collections":2621,"showCount":2622,"zanCount":48,"manualWeight":48,"mainColor":128},220936,"fang-dong-yuan-shan-shui-dong-qi-chang-220936","仿董源山水","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[24,25,30,60,118,114,385,117,7,206,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b378d6bc49a8e287d430b3213f127b.jpg","绢本与纸本",[124,103],187,{"id":2624,"slug":2625,"title":2626,"dynasty":620,"author":771,"museum":459,"description":2627,"tags":2628,"thumbUrl":2629,"material":808,"size":809,"collection":179,"collections":2630,"showCount":2631,"zanCount":11,"manualWeight":48,"mainColor":985},289944,"xia-shan-tu-dong-yuan-289944","夏山图","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。",[23,152,24,26,114,30,7,32,115,116,91,118,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ceabacb99b9da3101f03c4570459283.jpg",[],184,{"id":2633,"slug":2634,"title":2635,"dynasty":54,"author":2636,"museum":459,"description":2637,"tags":2638,"thumbUrl":2639,"material":179,"size":179,"collection":179,"collections":2640,"showCount":2631,"zanCount":392,"manualWeight":48,"mainColor":49},228905,"lan-ting-xu-juan-quan-juan-wen-zheng-ming-228905","兰亭序卷全卷","文徴明","此作书画合璧，意韵悠然。设色山水清丽秀雅，层岩叠壑间松荫浓郁，曲溪萦回，茅亭内雅客清谈，将兰亭修禊的幽雅致趣融于林泉之间，尽显古雅文心。\n书法兼具行楷题跋与集字奇构：题跋笔致秀润端劲，尽显温润秀逸的吴门风神；集字兰亭排布巧思独具，别出新意。鉴藏朱印错落铺陈，为整卷更添古雅厚重之感，将晋人雅集的文思与明代文人的审美意趣相融无间。",[23,24,25,26,28,30,120,118,29,116,63,64,7,61,153,761],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7122d5b6c8e477bd2e66f1602a2f182d.jpg",[],{"id":2642,"slug":2643,"title":2644,"dynasty":18,"author":685,"museum":167,"description":2645,"tags":2646,"thumbUrl":2647,"material":303,"size":2648,"collection":42,"collections":2649,"showCount":2650,"zanCount":11,"manualWeight":48,"mainColor":128},221338,"xi-shan-qiu-se-tu-zhou-zhao-ji-221338","溪山秋色图轴","此画种在北宋末成为宫廷皇室所喜爱的一种风格。本图中实景多被安排在画面左半侧，占据不到二分之一的面积，其余以留白来表现云雾、烟霭和野水。此种设计与北宋初期，取中轴构图的巨轴山水画有所不同，可以见到山水画从雄伟风格转变为带有抒情气氛的趋势。细看《溪山秋色图》这幅画的点景人物，多半描绘渔夫在渔钓或捕鱼的情景，这代表著君子所向往与世无争、远离尘俗的生活典型。此类渔父的画题，在进入北宋之后逐渐流行，成为山水画不可或缺的重要题材。",[23,24,25,202,114,118,30,31,7,206,115,37,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730927eed7d948f9cfd62cda6491af50.jpg","纵97cm,横53cm",[42,124,103],183,{"id":2652,"slug":2653,"title":2654,"dynasty":620,"author":2655,"museum":167,"description":2656,"tags":2657,"thumbUrl":2658,"material":122,"size":2659,"collection":124,"collections":2660,"showCount":2650,"zanCount":467,"manualWeight":48,"mainColor":49},219079,"shu-shan-zhan-dao-tu-guan-tong-219079","蜀山栈道图","关仝","峭壁摩天，层岩叠嶂间，栈道蜿蜒如丝，隐现于苍松古木与飞瀑流泉之中。山石以劲挺线条勾勒，皴法厚重，尽显蜀道之险；树木枝干虬曲，若蟹爪伸展，苍劲中透出野趣。云雾轻笼山腰，虚实相生，拓展了山川的深远之境。行人于栈道上渺小如蚁，步履蹒跚，更衬出自然的雄奇与旅途的艰辛。整幅画作笔墨沉雄，意境苍茫，既展现了蜀山的磅礴气势，又暗含着对行路者坚韧精神的咏叹，尽显北方山水画派的沉郁风骨与自然之趣。山石的坚凝质感与树木的丰茂生机相映，飞瀑的动态与栈道的静穆相衬，于险峻中藏幽致，于苍茫里见精微，是一幅兼具视觉冲击力与情感共鸣的山水佳作。",[23,24,152,30,202,118,28,244,7,32,115,213,116,579,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0408dd0331dcb9e6afcfd9169a592184.jpg","140.4x66.6",[124],{"id":2662,"slug":2663,"title":2664,"dynasty":223,"author":513,"museum":514,"description":515,"tags":2665,"thumbUrl":2666,"material":78,"size":518,"collection":179,"collections":2667,"showCount":2650,"zanCount":48,"manualWeight":48,"mainColor":49},214433,"xiu-yuan-tu-2-wang-yun-214433","休园图-2",[23,24,25,30,28,29,118,117,994,116,62,818,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca2ad8d2e65071575f178ce231704c2.jpg",[],{"id":2669,"slug":2670,"title":2671,"dynasty":2672,"author":2673,"museum":167,"description":2674,"tags":2675,"thumbUrl":2677,"material":122,"size":2678,"collection":44,"collections":2679,"showCount":47,"zanCount":928,"manualWeight":48,"mainColor":128},220447,"san-gu-cao-lu-tu-dong-zhan-220447","三顾草庐图","隋","董展","本幅绘汉末刘备三顾草庐、邀诸葛孔明出山之故实。画中长松修竹掩翳茅屋，孔明羽扇纶巾、依榻凝思，童仆正应门而出。篱外刘备、关羽、张飞三骑及从者行近，山岭后并见旌旗戈戟微露，人马仍众。画笔轻健秀润，惟上半山岭系后人补笔。幅上无款，依元萨都剌至正甲午之题，定为隋董展所作。然萨都剌之题字与其年款及跋语内容均不合，应为后人作品所伪托。",[23,24,25,28,30,61,90,7,117,69,502,2676],"人物活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935336d0a9d6d7dd611cbe1a446059.jpg","全幅 43.8x29.5公分，诗塘 17.8x29.5公分",[44],{"id":2681,"slug":2682,"title":2683,"dynasty":54,"author":110,"museum":459,"description":2684,"tags":2685,"thumbUrl":2686,"material":179,"size":179,"collection":179,"collections":2687,"showCount":2688,"zanCount":928,"manualWeight":48,"mainColor":128},228913,"zhu-lin-tu-shen-zhou-228913","竹林图","此作以清和笔调铺展水村居境，汀洲之上屋舍错落，竹树环合，幽人静居于内，远山叠石皴法苍润，林木点染清逸。水墨晕染间，江南水滨的空寂雅趣漫溢而出。\n\n左侧题诗与画境相生相契，诗书画印浑融一体，将林下忘机的隐逸襟怀寄于湖山烟霭中。笔致温厚平宁，无一丝奇峭锋芒，恰如诗文所书的清修之态，把文人优游泉石、守拙安闲的意趣缓缓铺陈，淡朴的底色里藏着沉静自足的文人心境，尽显文人画以画载情、诗画共生的意韵。",[23,54,24,25,26,28,114,118,30,1067,35,7,117,63,64,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb9ece674ed91c675c84612a3765b50.jpg",[],180,{"id":2690,"slug":2691,"title":2692,"dynasty":54,"author":55,"museum":167,"description":2693,"tags":2694,"thumbUrl":2696,"material":316,"size":401,"collection":179,"collections":2697,"showCount":2688,"zanCount":48,"manualWeight":48,"mainColor":49},228437,"shang-lin-fu-tu-juan-chou-ying-228437","上林赋图卷","此幅图写司马相如上林赋意，卷末并附有署文徵明款之隶书全文。相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托",[23,24,152,25,26,27,28,29,30,61,62,540,156,117,7,500,2695,70,64],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9816e974a23c3473ddacef5f4392ab.jpg",[],{"id":2699,"slug":2700,"title":2701,"dynasty":133,"author":355,"museum":167,"description":2702,"tags":2703,"thumbUrl":2705,"material":122,"size":2706,"collection":124,"collections":2707,"showCount":2688,"zanCount":928,"manualWeight":48,"mainColor":128},220808,"ju-qu-lin-wu-zhou-wang-meng-220808","具区林屋轴","此幅林画面的此署署名是王蒙以隶书题的「具具」四字，底下明为章画，具区的古时太湖的旧称，故图所表现的是太湖一代的景色。\n全图除了溪石之外，几乎被山石、树木、林间茅舍补充的没有轮廓，这种风格的构图方式在中国流淌的绘画作品中极为重要，开拓出国画构图之奇境。\n王大湖山中截面积，提炼加工，组织这幅极富生活情趣的画面：右富一坡角，数株大并列蒙其间，林下有高士临水而坐，犹如正摄着着橱窗的广告。\n水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人坐其间看书；山间小路迂回，曲径通幽，数栋屋宇内参差落于山谷，有妇女活动其间。\n内山石用「牛毛皴」与解索皴」干笔皴擦，多曲折旋转之笔，以突显出太湖中央山石的颜色；染则用墨与色直接染，丹崖碧树，一派秋日山水景象。",[23,24,25,202,28,30,118,117,64,7,62,968,206,2704],"木屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40016c952c57aef101aaa6107539940.jpg","该幅68.7x42.5公分，诗塘25.2x42.2公分，全幅74.3公分",[124,45],{"id":2709,"slug":2710,"title":2711,"dynasty":18,"author":2712,"museum":459,"description":2713,"tags":2714,"thumbUrl":2716,"material":808,"size":809,"collection":179,"collections":2717,"showCount":2718,"zanCount":48,"manualWeight":48,"mainColor":49},287569,"jiang-shan-lou-guan-tu-gao-qing-ban-yan-wen-gui-287569","江山楼观图（高清版）","燕文贵","此图绘长江两岸初冬始雪时景色，是将山水、人物相结合的一件画作。画卷上，寒风凄厉，初雪纷飞，江岸小桥，渔人行旅，浩瀚江水，涟漪层层，枯树黄芦迎风摇曳。苦于生计的渔民们，或驾着小舟穿梭江面，或架设网罟捕鱼，或卷起裤脚在冰冷的浅水处布网，衣单裳薄的纤夫逆风拖船，骑驴奔波的商旅在寒风中瑟缩着身子艰难前行，寒冷之景，宛然在目。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣，天空则用洒粉法弹出轻盈飘舞的飞雪，技法颇为别致。",[23,152,24,25,26,114,30,243,2715,37,62,7,118],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c0dcc60066b1e64a74cc691d005bae.jpg",[],179,{"id":2720,"slug":2721,"title":2722,"dynasty":223,"author":434,"museum":20,"description":2723,"tags":2724,"thumbUrl":2726,"material":40,"size":330,"collection":179,"collections":2727,"showCount":2718,"zanCount":48,"manualWeight":48,"mainColor":49},236172,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236172","雍正十二月行乐图轴","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,29,59,28,30,61,62,7,1290,70,173,117,2725],"植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92a7368abaea9d15bd4eedf67eb66b.jpg",[],{"id":2729,"slug":2730,"title":2731,"dynasty":223,"author":1431,"museum":1202,"description":2732,"tags":2733,"thumbUrl":2734,"material":360,"size":2735,"collection":124,"collections":2736,"showCount":2718,"zanCount":928,"manualWeight":48,"mainColor":49},222610,"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 一开一合大聋法的纵横驰骋，也有在小范围上虚实开合的变化，因而整体构图显得密而不乱，疏丽不空。山川气脉隔而不断，既有空间的深远，又有视觉上的无穷变化。",[23,24,152,26,114,118,30,243,244,7,204,37,115,1390,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纵27.8厘米，横980厘米",[124,103],{"id":2738,"slug":2739,"title":2740,"dynasty":18,"author":2741,"museum":167,"description":2742,"tags":2743,"thumbUrl":2744,"material":316,"size":2745,"collection":42,"collections":2746,"showCount":2718,"zanCount":48,"manualWeight":48,"mainColor":49},221295,"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,152,24,25,26,60,59,29,28,30,62,63,64,115,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[42,124,103],{"id":2748,"slug":2749,"title":2750,"dynasty":133,"author":355,"museum":423,"description":2751,"tags":2752,"thumbUrl":2753,"material":122,"size":2754,"collection":124,"collections":2755,"showCount":2718,"zanCount":48,"manualWeight":48,"mainColor":49},218024,"zhi-chuan-yi-ju-tu-wang-meng-218024","稚川移居图","《稚川移居图》为立轴，设色纸本。描绘了东晋葛洪携带家眷移居罗浮山，修道炼丹的故事。罗浮山位于今天广东省博罗县境内。葛洪，字稚川，号抱朴子，东晋道教学者、著名炼丹家。画中骑在牛背上的葛洪，身穿道袍，神情专注于手中的书卷，边走边看，全然不顾随他同行的家人。他身后，妻子和两个孩子同骑在牛背上，小的抱在怀里，大的坐在身后。随葛洪夫妇一起移居的，还有他的仆人们，他们或提着鸡笼，或牵着牛羊，或挑担负重，把生活必备之物搬运到山上。一路崇山峻岭，飞瀑流泉，几间茅草屋掩映在深山之中，屋前的庭院里，先行到达的仆人，在打扫庭院，迎候主人的到来。画面非常有感染力。",[24,25,475,202,28,118,30,61,90,7,244,35,426,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1563a446791d46548d1f313e5337c941.jpg","120x54cm",[124],{"id":2757,"slug":2758,"title":2759,"dynasty":18,"author":944,"museum":167,"description":2760,"tags":2761,"thumbUrl":2762,"material":78,"size":2763,"collection":44,"collections":2764,"showCount":2765,"zanCount":928,"manualWeight":48,"mainColor":49},216969,"yu-wang-kai-shan-tu-juan-zhao-bo-ju-216969","禹王开山图卷","赵伯驹，是中国宋代画家。他的作品《禹王开山图卷》是一幅著名的山水画，是他最著名的作品之一。\n\n《禹王开山图卷》画中描绘的是禹王开山垦沼的故事，以及禹王统治时期的生活和文化。画面上的人物和建筑都极具细致和生动，山水风光也非常优美。\n\n赵伯驹的画风风格独特，他擅长用细腻的线条勾勒出各种题材，并运用浓淡自然的墨色，使画面充满生机和活力。《禹王开山图卷》是宋代著名的山水画之一，被视为赵伯驹的代表作。",[152,24,25,26,27,28,29,118,30,61,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ff12f946a0ce4f72da37bbe835ca4f7.jpg","35x221.1",[44],178,{"id":2767,"slug":2768,"title":2769,"dynasty":18,"author":86,"museum":167,"description":2770,"tags":2771,"thumbUrl":2774,"material":28,"size":2775,"collection":42,"collections":2776,"showCount":2777,"zanCount":11,"manualWeight":48,"mainColor":49},221319,"qing-ming-yi-jian-tu-juan-zhang-ze-duan-221319","清明易简图卷","在画卷尾端的山石上有“翰林画史臣张择端进呈”签名，台湾中研院刘渊临认为其代表“金人入主汴京时的短时间风格”。北宋风俗画作品，北宋画家张择端所作。它生动地记录了中国十二世纪城市生活的面貌，是一幅举世闻名的现实主义风俗画卷。",[23,152,24,25,26,29,59,437,28,61,36,66,62,92,67,68,32,7,69,75,2772,2773],"民俗","宋代风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2dad2c8025aad97b6171fce959ff9.jpg","该幅 38x673.4公分；隔水一 38x14.5公分；引首一 38x98.5公分；隔水二 38x14.3公分；引首二 38x50.9公分；隔水三 38x14.2 公分；隔水四 38x14.2公分；拖尾一 36x50.8公分；隔水五 14.2公分；拖尾二 28.2x55.2公分；隔水六 14.2公分。",[42,45],177,{"id":2779,"slug":2780,"title":2781,"dynasty":54,"author":537,"museum":167,"description":2782,"tags":2783,"thumbUrl":2784,"material":303,"size":2785,"collection":124,"collections":2786,"showCount":2787,"zanCount":467,"manualWeight":48,"mainColor":128},219517,"lan-ting-xiu-xie-tu-wen-zheng-ming-219517","兰亭修褉图","以淡墨白描晕染兰亭雅集，层峦叠嶂纵立画面，古松虬枝苍劲，环护着溪畔兰亭。曲水蜿蜒流淌，士人列坐其侧，或把盏沉吟，或挥毫题咏，将永和雅事鲜活铺展。\n\n笔墨清隽秀雅，山石勾勒细劲简洁，淡皴轻染晕出山林幽寂，尽显内敛雅致的吴门意趣。绢素之上凝住魏晋林下风流，以极简水墨铺陈出旷远清幽的雅集氛围，藏着对古贤风雅的追慕，笔端浸满书卷清韵，将千载前的林下雅兴，晕染成隽永的丹青意趣。",[24,25,202,114,28,30,61,116,64,7,117,153,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ad5f5c5fbcf8cbdb86cdfd03b879c3.jpg","140.3x73.2",[124],176,{"id":2789,"slug":2790,"title":2791,"dynasty":223,"author":2792,"museum":56,"description":2793,"tags":2794,"thumbUrl":2797,"material":78,"size":2798,"collection":44,"collections":2799,"showCount":2800,"zanCount":467,"manualWeight":48,"mainColor":49},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,26,29,28,118,30,61,62,63,64,116,7,2795,2796,74,90,32,243,37],"山脉","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[44,124],175,{"id":2802,"slug":2803,"title":2804,"dynasty":54,"author":434,"museum":2805,"description":2806,"tags":2807,"thumbUrl":2809,"material":122,"size":2810,"collection":124,"collections":2811,"showCount":2800,"zanCount":928,"manualWeight":48,"mainColor":49},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","费城艺术博物馆","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[152,24,25,26,30,114,118,60,540,115,500,2808,501,7,34,676,37],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","27.8x96cm",[124],{"id":2813,"slug":2814,"title":2815,"dynasty":223,"author":325,"museum":459,"description":2816,"tags":2817,"thumbUrl":2820,"material":114,"size":179,"collection":124,"collections":2821,"showCount":2800,"zanCount":928,"manualWeight":48,"mainColor":128},216844,"zhan-zheng-tong-ban-hua-lang-shi-ning-216844","战争铜版画","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[2818,2819,61,90,30,7,117,412],"铜版画","战争","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f8252dec1e59bebb52ee40d5d9bef8.jpg",[124],{"id":2823,"slug":2824,"title":2825,"dynasty":18,"author":434,"museum":266,"description":435,"tags":2826,"thumbUrl":2828,"material":78,"size":2829,"collection":44,"collections":2830,"showCount":2800,"zanCount":48,"manualWeight":48,"mainColor":128},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图",[23,24,25,26,60,28,437,29,61,170,30,115,62,7,2223,117,2827,156],"异兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[44],{"id":2832,"slug":2833,"title":2834,"dynasty":54,"author":2835,"museum":167,"description":2836,"tags":2837,"thumbUrl":2838,"material":303,"size":2839,"collection":124,"collections":2840,"showCount":2800,"zanCount":467,"manualWeight":48,"mainColor":49},214827,"cao-tang-yun-shu-tu-wang-fu-214827","草堂云树图","王绂","这幅画描绘了一个溪边的小屋，一个高士在看喷泉和看书；岩石上潦草地画着荷叶，树干和树叶用各种笔法画着，都是王绂的原创风格。",[23,24,25,202,114,118,30,7,204,206,358,540,500,37,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[124],{"id":2842,"slug":2843,"title":1791,"dynasty":990,"author":2844,"museum":382,"description":2845,"tags":2846,"thumbUrl":2847,"material":78,"size":2848,"collection":124,"collections":2849,"showCount":2850,"zanCount":928,"manualWeight":48,"mainColor":985},219766,"qing-lv-shan-shui-tu-li-si-xun-219766","李思训","李思训（651-716，一作653-718）唐代书画家。字建睍，一作建景。出身唐宗室。唐高祖从弟长平王李叔良孙，李孝斌子。陇西成纪(今甘肃天水市)人。唐高宗(650-683)时为江都令，武则天朝(684-704)弃官潜匿，唐中宗朝出为宗正卿，唐玄宗开元初，官至左武卫大将军，因玄宗时官至右武卫大将军，所以被称为“大李将军”。擅画青绿山水，受展子虔的影响，笔力遒劲。题材上多表现幽居之所。传为他的作品有台北故宫博物院藏的《江帆楼阁图》轴，画游人在江边活动，以细笔勾勒山石轮廓，赋重青绿色，富于装饰性。此画虽今被认定为宋人手笔，但可以反映他的画风。他的儿子李昭道，官至太子中舍人，也是著名的画家，人称“小李将军”，秉承家学，亦擅青绿山水，风格工巧繁缛。藏于台北故宫博物院的《明皇幸蜀图》画唐玄宗及随从逃难四川的情形，宋以来相传为他的作品，现被断为宋人摹本。此派的山水风格，在初唐的章怀太子墓和懿德太子墓壁画中亦可看到。",[23,152,24,25,202,27,28,29,59,30,62,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d907e9ba09310c5bbacf3e00fd591b.jpg","纵 60.70横34.50",[124],174,{"id":2852,"slug":2853,"title":2854,"dynasty":223,"author":858,"museum":514,"description":859,"tags":2855,"thumbUrl":2859,"material":140,"size":869,"collection":179,"collections":2860,"showCount":2861,"zanCount":48,"manualWeight":48,"mainColor":128},230111,"hong-lou-meng-1-20-sun-wen-230111","红楼梦（1-20）",[24,25,29,28,59,61,62,63,1067,7,70,173,2856,2857,2858],"门窗","古装","衣饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a76bf1b00182a9d964a3d3a1dfb55de.jpg",[],172,{"id":2863,"slug":2864,"title":2865,"dynasty":18,"author":434,"museum":167,"description":2866,"tags":2867,"thumbUrl":2870,"material":78,"size":179,"collection":42,"collections":2871,"showCount":2861,"zanCount":928,"manualWeight":48,"mainColor":49},218832,"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[23,24,25,152,30,28,385,115,61,7,2868,342,2869,289,1300],"岸","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg",[42,124],{"id":2873,"slug":2874,"title":2875,"dynasty":620,"author":2876,"museum":459,"description":2877,"tags":2878,"thumbUrl":2879,"material":179,"size":179,"collection":179,"collections":2880,"showCount":2881,"zanCount":584,"manualWeight":48,"mainColor":49},228384,"guan-wu-shi-nv-tu-zhou-wen-ju-228384","观舞仕女图","周文矩","松奇石秀的庭院中，仕女们各尽其态，晕开一段闲雅深闺意趣。前景舞女立在红毡之上，扬袖振腕，身姿柔婉灵动，将舞蹈的曼妙尽致展现。侧旁侍女跪坐调鼓，应和节拍，另有仕女相携私语，目光流连。远景榻上仕女斜偎观舞，侍女垂手侍立身侧，尽显松弛慵闲。\n\n画作以铁线描勾勒衣袂裙裾，线条细劲流畅，设色古雅沉静，晕染柔和雅致，将仕女温婉娟秀的仪态，贵族深闺宴乐的慵懒柔靡尽数铺陈，把闺中日常的悠然意趣定格在古绢之上，尽显精工雅致的笔情墨韵。",[23,24,25,202,28,29,61,170,273,806,7,117,70,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba11e752bd59ac0714e9fc60eac044.jpg",[],171,{"id":2883,"slug":2884,"title":2885,"dynasty":54,"author":110,"museum":485,"description":486,"tags":2886,"thumbUrl":2887,"material":360,"size":490,"collection":179,"collections":2888,"showCount":2881,"zanCount":48,"manualWeight":48,"mainColor":128},220065,"hu-qiu-shi-er-jing-tu-ce-2-shen-zhou-220065","虎丘十二景图册-2",[23,24,114,118,385,59,30,62,116,61,7,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb0d3e152596b1384655b09d2103c65.jpg",[],{"id":2890,"slug":2891,"title":2892,"dynasty":18,"author":575,"museum":167,"description":2893,"tags":2894,"thumbUrl":2896,"material":1842,"size":2897,"collection":42,"collections":2898,"showCount":2881,"zanCount":48,"manualWeight":48,"mainColor":128},218868,"he-gan-xu-ge-tu-ma-yuan-218868","河干虚阁图","这幅画描绘了一个站在河岸桂花树下的亭子，远处的柳树岸上有一个雕花的栅栏和一个月亮。这幅画在笔法和形式上都是马远的典型风格。",[23,24,2895,30,59,62,7,117,118,114,28,64],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78455ff7832d3c26e3468c39f388dd57.jpg","22.1x24.3",[42],{"id":2900,"slug":2901,"title":2902,"dynasty":133,"author":134,"museum":2903,"description":2904,"tags":2905,"thumbUrl":2907,"material":122,"size":2908,"collection":124,"collections":2909,"showCount":2881,"zanCount":928,"manualWeight":48,"mainColor":49},218258,"shan-xi-fang-dai-tu-huang-gong-wang-218258","剡溪访戴图","云南省博物馆","《剡溪仿戴图轴》为黄公望晚年所作，描绘的是晋代著名书法家王羲之访问友人戴逵的故事。王羲之行船至剡溪，被途中雪景所吸引，一路慢行欣赏，在他将要到达目的地时，觉已尽兴，于是返回而未见友人。图中，蜿蜒溪水中有一叶小舟正使出村庄，小舟中坐有一人，拢袖御寒，船夫正用力划桨。\n整幅画面萧瑟寂冷，寒气逼人。画中山石、枯枝以“留白”的形式来表现被大雪覆盖，岩石上以浓墨点写枯树枝桠，更显萧瑟。山石堆叠，结构繁复，但用笔简洁，以淡墨为主，只在山石间的深凹处略加枯墨皴擦，空灵之感油然而生。山脚下庭院积雪，空无一人，更显寂寥。",[24,152,25,114,118,30,117,115,7,62,994,818,2906,1705,206,748,500,2418],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087820b95e4e9ded3f3d19b0cdb20388.jpg","76.6x55.3cm",[124],{"id":2911,"slug":2912,"title":2913,"dynasty":18,"author":2914,"museum":167,"description":2915,"tags":2916,"thumbUrl":2921,"material":78,"size":179,"collection":44,"collections":2922,"showCount":2881,"zanCount":11,"manualWeight":48,"mainColor":49},216731,"wen-ji-gui-han-tu-chen-ju-zhong-216731","文姬归汉图","陈居中","旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,24,25,26,29,28,61,30,90,7,117,2917,2573,2918,2919,2920,2419],"旌旗","骑兵","车驾","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ccb7fb1bc626b0b7aa8fc314796013.jpg",[44],{"id":2924,"slug":2925,"title":2926,"dynasty":54,"author":110,"museum":20,"description":2927,"tags":2928,"thumbUrl":2929,"material":1218,"size":2930,"collection":179,"collections":2931,"showCount":2932,"zanCount":928,"manualWeight":48,"mainColor":128},234144,"nan-shan-zhu-yu-tu-shen-zhou-234144","南山祝语图","《南山祝语图》是刻画韩世光所居的“云堂”，韩氏先世为良相，本人为良医，均有泽于世。画面中心主人盘坐在云堂外的石台上，专心守护着丹灶，即点出了韩氏的身份和居处。云堂并无云气缭绕，然阶下栖立仙鹤，周围环以松竹，也显示此堂是营建在山巅云端之间。这种境界有力地衬托出了主人公的品行。沈周此“幽居庄园”类题材的写实山水，无论是表现苏州文人隐居的茅屋斗室或描绘精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和舒适的情致，以寄托文人的理想和品格。所取景致，既基于对客观环境的提炼概括，又寓有一定象征意义，或传情达意，或比喻人品。",[23,24,25,26,28,30,912,118,120,119,341,342,116,7,117,358,502,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f94f80c3cca93e96c5b2aa322b36d0.jpg","31.5x156.6cm",[],170,{"id":2934,"slug":2935,"title":684,"dynasty":18,"author":685,"museum":167,"description":2936,"tags":2937,"thumbUrl":2939,"material":140,"size":2940,"collectio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红谷子。据传，这幅画是在一座古墓中出土的，西方一些艺术史学家认为这是荆浩的作品，而另一些人则认为这是一幅早期山水画的摹本。",[24,30,118,114,818,341,244,994,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450b815bffc67a9837fae7bb49477ec6.jpg","纵138.3厘米,横75.5厘米",[124],169,{"id":2953,"slug":2954,"title":2955,"dynasty":990,"author":1947,"museum":2956,"description":2957,"tags":2958,"thumbUrl":2959,"material":78,"size":179,"collection":44,"collections":2960,"showCount":2961,"zanCount":928,"manualWeight":48,"mainColor":128},219579,"zhi-shan-shi-nv-tu-zhou-fang-219579","执扇仕女图","耶鲁大学艺术博物馆","画面以淡墨轻晕出幽寂庭院，仕女孑然独立，素衣柔婉，眉眼间凝着幽微怅惘。旁侧松梅虬枝疏朗，苍雅古拙的枝桠斜斜探伸，衬出院中空阔清寒的氛围。\n\n设色雅致内敛，浅淡赭石与花青晕染景物，虚实相生里晕开朦胧柔润的古雅意韵。笔致秀逸清隽，以简淡线条勾勒仕女风神，将深闺女子闲静缱绻的幽思，藏在氤氲的笔墨间。全图虚实相宜，把闺中清寂与仕女温婉愁绪悄然铺陈，尽显古典仕女画含蓄淡远的美学意境。",[24,2895,28,29,170,289,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1570cff7b0df2beea2b544ac3d39105.jpg",[44],168,{"id":2963,"slug":2964,"title":2965,"dynasty":54,"author":55,"museum":167,"description":2966,"tags":2967,"thumbUrl":2968,"material":316,"size":2969,"collection":179,"collections":2970,"showCount":2971,"zanCount":928,"manualWeight":48,"mainColor":128},222217,"zhao-meng-fu-xie-jing-huan-cha-tu-juan-chou-ying-222217","赵孟頫写经换茶图卷","画中，画匠出身的仇英尚“古意”，作品以宋代李公麟白描入手，并将色彩溶于线条之中，纤细柔和的画出了松林、竹篱间铺纸作书的赵孟頫，以及与之对坐的禅师，另有一书童手持茶叶。整个画面宁静淡然，秀雅温润，充满禅意。\n画后面的文徵明《心经》是以王羲之的书法名作《黄庭经》的笔法写成，而赵孟頫在求佛问道的过程中也曾多次抄写《黄庭坚》并有作品流传至今。如此看来，文徵明此处所书的《心经》，几乎可以说是赵孟頫风格的再现。",[23,24,25,26,29,28,61,7,117,411,156,119,153,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c7765f2bce81c38906b328ef48f04.jpg","纵22厘米、横311厘米",[],167,{"id":2973,"slug":2974,"title":2975,"dynasty":620,"author":2655,"museum":167,"description":2976,"tags":2977,"thumbUrl":2978,"material":177,"size":2979,"collection":124,"collections":2980,"showCount":2971,"zanCount":928,"manualWeight":48,"mainColor":985},221158,"qiu-shan-wan-cui-tu-guan-tong-221158","秋山晚翠图","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[23,24,25,202,30,118,28,7,244,204,2042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a2dbf4ef7b6f0a300b3f97262a33e.jpg","横57.3厘米，纵140.5厘米",[124,103],{"id":2982,"slug":2983,"title":2984,"dynasty":223,"author":2985,"museum":167,"description":2986,"tags":2987,"thumbUrl":2988,"material":122,"size":2989,"collection":124,"collections":2990,"showCount":2971,"zanCount":928,"manualWeight":48,"mainColor":128},219533,"hui-yu-bi-zhong-qiu-tie-zi-shi-dong-bang-da-219533","绘御笔中秋帖子诗","董邦达","《中秋帖子词卷》是清代宫廷艺术的集大成之作，主要分为三部分：乾隆御笔题序、董邦达据乾隆词意绘画的山水画，以及内廷翰林据帖子词韵附和创作的诗文，并由大臣汪由敦抄写。卷中书画合壁，内容丰富，从这君臣和唱的山水诗画巨制中，可见乾隆皇在位初期锐意开创崭新气象的雄心壮志。",[24,28,30,61,116,62,7,117,119,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3831ec7dcdcdc2b2a1575be43d6b2da6.jpg","95.4x66.2厘米",[124],{"id":2992,"slug":2993,"title":2994,"dynasty":223,"author":2332,"museum":423,"description":2995,"tags":2996,"thumbUrl":3000,"material":415,"size":3001,"collection":331,"collections":3002,"showCount":3003,"zanCount":48,"manualWeight":48,"mainColor":49},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,152,24,25,26,29,28,156,171,7,117,2193,2997,2408,591,528,540,411,206,244,172,2998,2999],"仙鹤","水禽","花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","45cm*1600cm",[331,45],166,{"id":3005,"slug":3006,"title":3007,"dynasty":133,"author":355,"museum":167,"description":3008,"tags":3009,"thumbUrl":3010,"material":303,"size":3011,"collection":103,"collections":3012,"showCount":3013,"zanCount":48,"manualWeight":48,"mainColor":128},218773,"hua-xi-shu-wu-tu-wang-meng-218773","花溪书屋图","层峦叠嶂如卷舒展，林木葱茏间，溪流蜿蜒穿石而过，花溪的清浅便藏在这潺潺声里。山腰隐现书屋一角，竹窗半启，似有文人临窗对景，墨韵与山风悄然相融。王蒙以解索皴勾勒山石肌理，线条如藤蔓缠石，墨色浓淡相济，将山峦的厚重与草木的清润织成幽深之境。画面繁密却不失空灵，每一处皴擦点染皆见匠心——峰峦层叠、树木错落、书屋静谧，交织出元代文人避世栖居的诗意。山鸟啼鸣仿佛入耳，涧水清香似可轻嗅，尽显山水间的隐逸之趣与笔墨的精妙神韵。",[23,24,25,114,28,118,30,243,7,117,35,206,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe82e97f416bf5d962388fc7adab04d04.jpg","31.2x51.9",[103],164,{"id":3015,"slug":3016,"title":3017,"dynasty":990,"author":3018,"museum":2956,"description":3019,"tags":3020,"thumbUrl":3021,"material":78,"size":3022,"collection":124,"collections":3023,"showCount":3013,"zanCount":928,"manualWeight":48,"mainColor":49},218238,"xi-shan-xue-ji-tu-yang-sheng-218238","溪山雪霁图","杨升","画面铺展雪后初霁的溪山胜境。层叠山峦覆着薄雪，肌理温润如凝脂，淡褐底色晕染出残雪消融的清润。近景松枝苍劲，几抹丹枫似燃，为素净天地添暖意；山间小径隐现行人，桥上红袍骑手与白衣者对语，马蹄踏雪声仿佛可闻。中景茅舍掩映林间，窗内人影依稀，似在煮茶赏雪。远景峰峦隐入烟霭，留白处似有余雪未尽。整幅画以淡墨轻染山石，线条婉转勾勒树石轮廓，设色雅致却藏生机，动静相济间，尽显唐时文人对山水隐逸之趣的向往。",[23,24,28,30,747,117,7,63,61,90,116,35,202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6649b347adabe03cc40f45facab14c08.jpg","118.9x60.3cm",[124,331],{"id":3025,"slug":3026,"title":3027,"dynasty":54,"author":110,"museum":459,"description":2373,"tags":3028,"thumbUrl":3030,"material":808,"size":809,"collection":179,"collections":3031,"showCount":3032,"zanCount":48,"manualWeight":48,"mainColor":128},290928,"jiang-shang-qing-shan-shen-zhou-290928","江上青山",[24,25,385,114,30,118,243,7,3029,426,61,90,119,153],"村居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4db2a42b30a37fb39b0e95fca436c6c.jpg",[],163,{"id":3034,"slug":3035,"title":3036,"dynasty":223,"author":381,"museum":459,"description":1590,"tags":3037,"thumbUrl":3038,"material":179,"size":179,"collection":124,"collections":3039,"showCount":3040,"zanCount":467,"manualWeight":48,"mainColor":128},237928,"yuan-ji-shan-shui-tu-zhou-shi-tao-237928","原济山水图轴",[24,114,118,202,25,119,120,153,30,63,64,7,35,61,117,204,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa72c6c88f5d950dcb00da4e61fa4c0.jpg",[124,103],162,{"id":3042,"slug":3043,"title":3044,"dynasty":133,"author":1481,"museum":423,"description":3045,"tags":3046,"thumbUrl":3047,"material":78,"size":179,"collection":124,"collections":3048,"showCount":3040,"zanCount":11,"manualWeight":48,"mainColor":49},220127,"mo-zhao-qian-li-qing-lv-shan-shui-hu-ting-hui-220127","摹赵千里青绿山水","以大青绿设色晕染山峦，石青石绿的厚重色调铺陈出苍古秀润的山川气象。主峰巍峨盘踞，山石勾勒填色间施皴擦，棱角分明又兼具温润质感，层叠峰峦拉开深远空间。\n山间隐现殿宇屋舍，林麓古木森郁，水岸板桥横陈，汀渚渔舟、江亭雅集错落点缀，将隐逸悠然的山居意趣融于山水烟岚之中。\n追摹北宋青绿山水的精工雅致，又裹挟元代山水画的萧散意韵，用色浓丽却不俗艳，勾勒细劲沉稳，章法严整兼具宏阔格局与细腻文心，尽显青绿山水的古典意涵与雅致格调。",[23,24,27,28,60,30,117,7,32,63,115,358,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a4204ffb83c828eabda3ee5617bad2.jpg",[124],{"id":3050,"slug":3051,"title":3052,"dynasty":223,"author":381,"museum":459,"description":3053,"tags":3054,"thumbUrl":3055,"material":506,"size":3056,"collection":103,"collections":3057,"showCount":3058,"zanCount":666,"manualWeight":48,"mainColor":128},224527,"jiang-shan-sheng-lan-shi-tao-224527","江山胜揽","此卷绘山川湖泊。山峦连绵起伏，景物屑迭。树木茂密丛生，瀑布、溪水倾泻而下。水面宽广，云雾蒸腾，有寂静空灵之美。画中线条极细，有素描效果。山石用披麻铍，横直交错，秀灵而坚实。密集的破笔苔点，使山势更显苍莽。篁叶取法倪瓒，只是变萧疏为茂密。墨色的干湿浓淡恰到好处。画作用笔和山石构置繁密，但作者巧妙地运用虚实、黑白的均衡布局，通过水的空灵和云雾的蒸腾，避免了过分的迫塞。综合而论，这是一幅能代表石涛笔墨清腴，风格恣肆洒脱的山水作品。",[23,24,26,114,30,118,119,153,7,244,32,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fd2208972fffab3bc42dc072272735.jpg","纵20厘米，横762厘米",[103],161,{"id":3060,"slug":3061,"title":3062,"dynasty":18,"author":550,"museum":167,"description":3063,"tags":3064,"thumbUrl":3065,"material":316,"size":3066,"collection":42,"collections":3067,"showCount":3058,"zanCount":48,"manualWeight":48,"mainColor":128},221496,"zhu-ge-yan-bin-tu-li-tang-221496","竹阁延宾图","此图应为元代画家所绘，大青绿绘远处山峦起伏，陡峭险峻；中部湖面广阔，水面如静；近处树木蓊郁，岸上一处亭台建筑考究，两排并列，回廊延伸，亭内两人倚栏而坐，聊天赏景，不亦乐乎。",[23,24,2895,28,30,118,116,7,61,1067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac77efdcd38cd2854c5b2b506f96be70.jpg","23.7×20cm",[42,124,45],{"id":3069,"slug":3070,"title":3071,"dynasty":18,"author":3072,"museum":20,"description":3073,"tags":3074,"thumbUrl":3075,"material":506,"size":3076,"collection":42,"collections":3077,"showCount":3058,"zanCount":11,"manualWeight":48,"mainColor":128},221460,"chang-jiang-wan-li-tu-juan-zhao-fu-221460","长江万里图卷","赵黻","展开此卷，可看到万里江山中的烟云风雨、山石峻岭、山间小道、樵夫行旅、乘风破浪的小舟、穿云破雾的飞鸟、山谷中的屋宇、村落、归庄的农民、深山古寺等等，可谓东起吴越、西至巴蜀、万里江山、气势宏大、一气呵成。着重描写江山壮丽景色，气势雄伟，笔法学李唐而略纵逸，但仍未脱南宋院体画之痕迹。卷末款署“赵黻作”三字，钤“黻”朱文印，画面有明代钱惟善、张宁、陆树声等诗跋 。",[23,24,26,114,475,118,30,2715,243,37,7,115,36,1056],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纵45.1厘米，横992.5厘米",[42,124,103],{"id":3079,"slug":3080,"title":3081,"dynasty":18,"author":312,"museum":20,"description":3082,"tags":3083,"thumbUrl":3085,"material":230,"size":3086,"collection":42,"collections":3087,"showCount":3088,"zanCount":48,"manualWeight":48,"mainColor":49},221573,"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[23,24,25,114,28,118,30,747,3084,115,994,117,32,7],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纵28.2厘米，横29.5厘米",[42,124,103],160,{"id":3090,"slug":3091,"title":3092,"dynasty":223,"author":2332,"museum":658,"description":3093,"tags":3094,"thumbUrl":3096,"material":78,"size":3097,"collection":331,"collections":3098,"showCount":3088,"zanCount":11,"manualWeight":48,"mainColor":49},219126,"shuang-lu-tu-shen-quan-219126","双鹿图","这幅画描绘了在秋季深山里，一对野鹿的生活状态。画面右边是高山悬崖的一段，崖壁上生长着盘如巨龙的古松，虽饱经风霜，仍然枝叶繁茂，粗大的树干上缠绕着藤本植物，从松、藤之间的上部缝隙里，可以看到一条瀑布，它穿过树叶的遮挡，飞流直下，形成巨大的水流，与画面下部的小溪相互呼应。悬崖的左边大幅留白，虽然没有具体描绘，应该能想象为山谷中弥漫着的雾气，在此处取得了无胜于有的效果。上述描绘景色，构成了本幅画的背景，说明了双鹿活动的大环境。双鹿为一公一母，一站一卧，它们伸长了耳朵正在倾听，身处深山老林，时刻保持高度警惕，这幅画正是描绘了这一刻的动态。双鹿周围，是一些正在盛开的白色野菊，山坡间生长着一丛丛色彩暗淡的野草，较好地表明了野草即将衰败、天气已届深秋。",[23,24,152,29,28,1855,3095,30,7,1665,204,244],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c88b537cee852bc63fd476f497b04f.jpg","120x50.5cm",[331],{"id":3100,"slug":3101,"title":3102,"dynasty":223,"author":381,"museum":382,"description":383,"tags":3103,"thumbUrl":3104,"material":122,"size":389,"collection":179,"collections":3105,"showCount":3106,"zanCount":48,"manualWeight":48,"mainColor":128},214891,"shan-shui-tu-ce-2-shi-tao-214891","山水图册-2",[23,24,114,118,385,30,64,115,1705,7,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd319f48bef574dd573647e67866a3b95.jpg",[],159,{"id":3108,"slug":3109,"title":3110,"dynasty":18,"author":550,"museum":459,"description":3111,"tags":3112,"thumbUrl":3113,"material":179,"size":179,"collection":179,"collections":3114,"showCount":3115,"zanCount":928,"manualWeight":48,"mainColor":128},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。\n晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[23,24,152,26,25,28,118,61,30,540,117,7,206,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],158,{"id":3117,"slug":3118,"title":3119,"dynasty":223,"author":1533,"museum":423,"description":3120,"tags":3121,"thumbUrl":3122,"material":122,"size":179,"collection":124,"collections":3123,"showCount":3115,"zanCount":928,"manualWeight":48,"mainColor":128},215031,"fang-gu-shan-shui-ce-wang-jian-215031","仿古山水册","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[24,114,958,118,385,30,7,117,206,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f5870a1a3d56961655bf14bd82552d.jpg",[124],{"id":3125,"slug":3126,"title":3127,"dynasty":990,"author":1947,"museum":266,"description":3128,"tags":3129,"thumbUrl":3130,"material":78,"size":3131,"collection":44,"collections":3132,"showCount":3133,"zanCount":928,"manualWeight":48,"mainColor":985},218270,"wei-mo-yan-jiao-tu-zhou-fang-218270","维摩演教图","文殊菩萨和维摩诘一直是绘画的常见主题。这幅画在一个宏大而丰富的场景中展示了大量的人物。在这幅画中，弟子们和文殊菩萨的马聚集在寺庙前，一位天女乘云而起，在寺庙中央，维摩诘和文殊菩萨在沙发上正在进行辩论。虽然画家也试图再现维摩诘的 清秀、脆弱和病态的外表，但花园和亭子的画法非常细致和细腻，是对当时文人和学者的家庭生活的歪曲表现。",[23,24,29,28,923,202,61,62,7,117,1856],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44bcbc35fc6a4d4d7c2ebfa883cf4d08.jpg","113.5x41.8",[44],157,{"id":3135,"slug":3136,"title":3137,"dynasty":223,"author":434,"museum":20,"description":2723,"tags":3138,"thumbUrl":3139,"material":40,"size":330,"collection":179,"collections":3140,"showCount":3141,"zanCount":48,"manualWeight":48,"mainColor":128},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167","雍正十二月行乐图",[24,25,27,28,29,30,62,63,64,116,61,7,2193,117,528,2246,173,2450,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg",[],156,{"id":3143,"slug":3144,"title":3145,"dynasty":54,"author":55,"museum":20,"description":3146,"tags":3147,"thumbUrl":3150,"material":40,"size":3151,"collection":124,"collections":3152,"showCount":3141,"zanCount":11,"manualWeight":48,"mainColor":128},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[23,24,25,152,202,28,29,30,7,35,3148,64,115,153,3149],"田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","纵126.5cm，横66.cm。",[124,45],{"id":3154,"slug":3155,"title":3156,"dynasty":18,"author":434,"museum":167,"description":3157,"tags":3158,"thumbUrl":3159,"material":555,"size":3160,"collection":42,"collections":3161,"showCount":3162,"zanCount":11,"manualWeight":48,"mainColor":128},218670,"qiu-shan-yu-ji-tu-yi-ming-218670","秋山雨霁图","雨霁后的秋山，似被洗去尘嚣。云雾如轻纱漫笼峰峦，在谷间缓缓流转，若隐若现的山影透着清润的轮廓。近坡上树木疏朗，枝叶带着湿意舒展，浅滩溪流潺潺，石间水痕依稀，犹存雨落余韵。墨色淡雅却层次分明，干笔皴擦勾勒山石肌理，湿墨晕染晕开云雾空濛，将秋山初晴的静谧与生机凝于一纸。那朦胧间的悠远清寂，恰是宋人山水中独有的意境——不刻意雕琢，却于简淡中藏着天地的灵秀，引人沉浸于这刚醒的秋意里，忘乎尘嚣。",[23,24,114,118,30,341,881,7,156,244,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaad32c24dfc8fad734affdf00c5c629.jpg","28.9x50.4cm",[42,124],155,{"id":3164,"slug":3165,"title":3166,"dynasty":18,"author":2052,"museum":167,"description":3167,"tags":3168,"thumbUrl":3170,"material":78,"size":3171,"collection":44,"collections":3172,"showCount":3162,"zanCount":11,"manualWeight":48,"mainColor":128},215107,"shi-dan-ying-xi-tu-li-song-215107","市担婴戏图","朴实的农村中，传来了熟悉的'咚不隆咚声。一位老货郎手摇着拨浪鼓，费力地挑着百货杂物走城串乡来了。一名还在喂餵乳的村妇，闻声赶上前来。大小娃儿们跟着围在一旁，又是焦急又是欢喜：争相向母亲示意哪个玩具好玩新奇；性急的，索幸自个儿爬上摊子抓取了！\n南宋时，画院曾流行描绘农村生活的情态，个中翘楚，首推李嵩。在这幅《市担婴戏图》里，可以亲眼目赌这位老画师画技的不凡。只消看看货郎担上、身上所披挂的各式膏药、杂货与童玩（据画上提示有“五百件”），就已足够令人眼花缭乱，技艺的超群也就不言而喻了。除此之外，画中在描绘货郎为生计辛勤奔波、村妇为家计费心盘量的同时，画家能匠心地摹绘孩童的无邪天真，更在在显示刻划手法的独到与细腻。李嵩出身民间工匠，对农村生活的观察，体会尤深。在图1这幅图中，他以精准、顿挫有致的笔法，既呈现出市井小民的情态，也展现乡野浓厚的生命气息，可说是一件杰出、令人动容的小品。",[23,24,25,2895,29,28,437,61,1170,2056,7,3169],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f373c10d3030225f43684528bc8cd74.jpg","25.8x27.6公分",[44],{"id":3174,"slug":3175,"title":3176,"dynasty":54,"author":110,"museum":20,"description":3177,"tags":3178,"thumbUrl":3179,"material":122,"size":3180,"collection":124,"collections":3181,"showCount":3182,"zanCount":48,"manualWeight":48,"mainColor":1138},219865,"yun-shan-tu-shen-zhou-219865","云山图","沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[23,24,114,30,118,202,7,37,117,32,116,500,674,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纵155.2cm，横73cm",[124],154,{"id":3184,"slug":3185,"title":3186,"dynasty":18,"author":312,"museum":459,"description":3187,"tags":3188,"thumbUrl":3191,"material":78,"size":3192,"collection":124,"collections":3193,"showCount":3182,"zanCount":666,"manualWeight":48,"mainColor":49},218593,"feng-yu-gui-zhou-tu-xia-gui-218593","风雨归舟图","画面墨气淋漓，骤雨如丝斜织，远山隐入烟霭，近树被风揉得枝叶翻卷。蓑衣客躬身疾行，斗笠遮不住风雨，脚步却向着归途匆匆；江畔小舟半隐雾中，舟子撑篙破雨而来，船篷上似有雨珠滚落。墨色浓淡相济，湿笔晕染出天地苍茫，干笔勾勒出人物的急切与树石的坚韧。风雨的喧嚣仿佛透过绢素传来，归人的匆忙与自然的浩渺相映，既有生活的烟火气，又藏着山水间的悠远意境。寥寥几笔便将骤雨归舟的情景写尽，湿墨晕开的雨雾里，似能触到那份湿润的诗意，以及归心似箭的温暖底色。",[24,114,30,118,880,61,7,243,156,3189,3190],"风雨","蓑衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeefa85c6c7e634a1e82deccf9bee42a.jpg","58x25",[124],{"id":3195,"slug":3196,"title":3197,"dynasty":54,"author":110,"museum":167,"description":3198,"tags":3199,"thumbUrl":3200,"material":122,"size":3201,"collection":179,"collections":3202,"showCount":3203,"zanCount":928,"manualWeight":48,"mainColor":49},231379,"chun-hua-zhou-jin-tu-shen-zhou-231379","春华昼锦图","春日山林中，两位文士饮罢酒宴，骑马而归，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[24,25,202,114,28,30,118,61,90,63,64,116,7,117,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032de34690657eb2bd83434bdd68f1a0.jpg","纵91.8厘米，横35厘米",[],153,{"id":3205,"slug":3206,"title":3207,"dynasty":1743,"author":3208,"museum":3209,"description":3210,"tags":3211,"thumbUrl":3212,"material":230,"size":179,"collection":179,"collections":3213,"showCount":3203,"zanCount":48,"manualWeight":48,"mainColor":128},220454,"ling-yan-jian-yi-jiao-tu-pan-tian-shou-220454","灵岩涧一角图","潘天寿","中国现当代美术文献研究中心","此作截取山涧一隅造势，以险绝构图盘活画面，虚实相生见巧思。枯笔浓墨勾勒皴擦山石，苍劲老辣，尽显崖壁嶙峋之态。蓝红山花浓艳跳脱，于幽寂墨色中撞出鲜亮野趣，打破山林沉郁。屋舍隐于深林，留白代作溪涧，以虚写实，将浙东山川清奇苍劲敛于尺幅之间。既得传统山水的雅致意境，又以边角小景抒发山河磅礴生机，笔墨间尽显独出机杼的构图胆识与沉雄朴厚的艺术风骨，把乡野山水的清逸生机藏于方寸。",[23,24,25,202,28,114,118,30,244,64,1621,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a236d64f04b03b64b29b72f54995505.jpg",[],{"id":3215,"slug":3216,"title":3217,"dynasty":18,"author":198,"museum":111,"description":3218,"tags":3219,"thumbUrl":3220,"material":303,"size":179,"collection":42,"collections":3221,"showCount":3203,"zanCount":48,"manualWeight":48,"mainColor":985},219928,"wan-jing-tu-fan-kuan-219928","晚景图","此图山峦圆浑高峻，水边巨石垒垒，用密集的小斧劈皴和雨点皴皴染，山顶密植树木。山形和技法的确出于范宽，但是山峦间充满虚渺云雾、远山淡墨一抹以及笔法短促简率等画法，都带有南宋李唐画派的技法因子，画面缺乏范宽那种雄伟森严的气势，应是出于南宋早期继承范宽画风的画家之手。可惜作者姓名佚失，然亦是了解由范宽画风向南宋院体画风递变时期艺术面貌的重要实迹。",[23,24,118,114,30,341,7,244,2395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d38b2ea5d8305bc68e3d6e69a76fe72.jpg",[42],{"id":3223,"slug":3224,"title":599,"dynasty":54,"author":3225,"museum":167,"description":3226,"tags":3227,"thumbUrl":3228,"material":122,"size":3229,"collection":124,"collections":3230,"showCount":3203,"zanCount":928,"manualWeight":48,"mainColor":128},214737,"shan-shui-tu-zhao-zuo-214737","赵左","这幅画描绘了一座远山，远处有长长的松树，还有一条安静、荒芜的山路。此幅笔墨有王蒙遗法，用笔转为清雅",[24,25,202,114,118,153,30,244,7,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffc14a94445ec38d2e703a1156fa299.jpg","122.5x34.7",[124],{"id":3232,"slug":3233,"title":3234,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":3238,"thumbUrl":3243,"material":808,"size":809,"collection":3244,"collections":3245,"showCount":3246,"zanCount":11,"manualWeight":48,"mainColor":3247},225712,"avenue-bij-arles-fan-gao-225712","Avenue bij Arles","不详","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[3239,3240,7,35,3148,74,3241,156,3242],"油画","后印象派","蓝天","乡村景致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd1697763f7389fe0ac2c3774b8b3fb.jpg","油画精选",[3244],152,"2A56C6",{"id":3249,"slug":3250,"title":3251,"dynasty":18,"author":3252,"museum":167,"description":3253,"tags":3254,"thumbUrl":3255,"material":316,"size":3256,"collection":42,"collections":3257,"showCount":3246,"zanCount":928,"manualWeight":48,"mainColor":49},221244,"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[23,152,24,25,385,114,28,118,30,116,7,115,31,500,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","对幅23.9x20.2公分",[42,124],{"id":3259,"slug":3260,"title":3261,"dynasty":1743,"author":3262,"museum":3263,"description":3264,"tags":3265,"thumbUrl":3267,"material":179,"size":179,"collection":179,"collections":3268,"showCount":3246,"zanCount":928,"manualWeight":48,"mainColor":128},220493,"zhang-da-qian-fang-zhang-seng-yao-wu-xia-qing-qiu-tu-zhang-da-qian-220493","张大千仿张僧繇巫峡清秋图","张大千","四川博物院","此作用没骨青绿之法绘就，奇崛山峰以石青、赭石重色晕染，峰顶留白拟晴雪，丹红古木点缀其间，明丽堂皇。留白作云气横断山峦，虚实相生，尽显巫峡高华幽深之态。下方江帆孤悬，山居隐于翠岭，飞泉叠落，于雄奇间晕开雅致秋意。\n\n笔墨追摹古法，又暗合新意，将巫峡清秋的萧瑟绮丽相融，既有六朝青绿的厚重堂皇，又带着秀逸灵韵，让古雅的没骨山水焕发清新生机，尽显秋山的雄浑与秀雅。",[23,24,25,27,28,30,31,501,204,37,7,3266,60,118,153],"山间小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde65b4dfacc5eae3a51cc3afe86bfb23.jpg",[],{"id":3270,"slug":3271,"title":3272,"dynasty":223,"author":472,"museum":382,"description":3273,"tags":3274,"thumbUrl":3275,"material":303,"size":3276,"collection":124,"collections":3277,"showCount":3246,"zanCount":928,"manualWeight":48,"mainColor":128},220080,"fang-huang-zi-jiu-shan-shui-tu-wang-shi-min-220080","仿黄子久山水图","王时敏（1592—1680），字逊之，号烟客、西庐老人。太仓（今属江苏）人。王时敏的祖父王锡爵、父亲王衡都是高官，他也荫仕太常寺少卿，故人称“王奉常”。王时敏家富收藏，每遇名迹，即不惜重金搜求，曾遍摩家藏的宋、元真迹。王翚、吴历及其孙王原祁均经他传授画艺。与王鉴并称“二王”、加上王翚、王原祁被称为“四王”。山水笔墨苍润秀疏，为四王之首。 作品介绍: 王时敏家藏历代名画甚丰，得以充分观摩研习，其绘画以山水见长，为正统山水画派的领袖人物。他的作品多摩古之作，颇具先人遗风。此画册摩写了宋元大家巨然、米友仁、黄公望、王蒙、倪瓒、吴镇等人的山水画作，画幅小而精致，清新悦目，各家风格迥异，绘制精微细腻，显示出王时敏深厚的功底和纯熟技法。",[23,24,114,202,60,118,30,63,64,7,117,204,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[124],{"id":3279,"slug":3280,"title":3281,"dynasty":223,"author":3282,"museum":3283,"description":3284,"tags":3285,"thumbUrl":3288,"material":78,"size":3289,"collection":331,"collections":3290,"showCount":3246,"zanCount":11,"manualWeight":48,"mainColor":49},219539,"pan-tao-tu-zou-yi-gui-219539","蟠桃图","邹一桂","承德避暑山庄博物馆","画面两只丹顶鹤立于青石之上姿态悠闲，石隙间画桃树一株硕果累累富有质感，峰峦之间瀑布鞋飞流而下。",[23,24,25,202,29,28,1620,3286,117,64,3287,7],"桃","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6b446064c15c3f90edacbf7bbc946c.jpg","166cm×87cm",[331],{"id":3292,"slug":3293,"title":574,"dynasty":18,"author":575,"museum":20,"description":576,"tags":3294,"thumbUrl":3297,"material":40,"size":581,"collection":179,"collections":3298,"showCount":3299,"zanCount":48,"manualWeight":48,"mainColor":49},233880,"ta-ge-tu-zhou-ma-yuan-233880",[24,152,202,114,28,30,117,7,994,3295,61,62,37,64,118,3296],"小路","斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef222b397a3288ca11990ad05068a142.jpg",[],151,{"id":3301,"slug":3302,"title":3303,"dynasty":223,"author":472,"museum":368,"description":2506,"tags":3304,"thumbUrl":3305,"material":122,"size":2510,"collection":124,"collections":3306,"showCount":3299,"zanCount":928,"manualWeight":48,"mainColor":49},220004,"shan-shui-hua-fang-huang-zi-jiu-wang-shi-min-220004","山水画-仿黄子久",[23,24,28,27,30,60,118,63,64,7,243,35,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68a290c2795698c616b7dc02b7d5c03.jpg",[124],{"id":3308,"slug":3309,"title":3310,"dynasty":990,"author":3311,"museum":20,"description":3312,"tags":3313,"thumbUrl":3316,"material":936,"size":3317,"collection":44,"collections":3318,"showCount":3319,"zanCount":666,"manualWeight":48,"mainColor":49},222242,"suo-jian-tu-juan-yan-li-ben-222242","锁谏图卷","阎立本","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。\n以此图与现藏美国弗利尔艺术馆、相传为唐代阎立本所绘的《锁谏图》相比照，人物的位置、动作基本没有太多变化，罗氏之作只是省略了皇后一侧的假山石与树丛，添加了陈元达右侧的几名侍卫。另外，罗聘还将原本用设色之法图写的表现形式改作白描，使画作平添了些许雅致。",[23,24,25,26,29,28,61,3314,7,117,736,3315,153],"犬","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41980eacf357c3e6917c0ffd1915bdef.jpg","纵32厘米，横208厘米",[44,45],150,{"id":3321,"slug":3322,"title":2150,"dynasty":223,"author":3323,"museum":514,"description":3324,"tags":3325,"thumbUrl":3326,"material":78,"size":3327,"collection":124,"collections":3328,"showCount":3319,"zanCount":666,"manualWeight":48,"mainColor":49},218715,"peng-lai-xian-jing-tu-xu-wen-218715","徐玟","这幅青绿山水边框画属于赵伯驹、赵孟頫、仇英一脉，山石皴擦少，傅色细雅，边框画精美。",[23,24,28,59,29,30,62,7,37,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5656eb494ec10d4f4e9a3529db76a4.jpg","172x100cm",[124],{"id":3330,"slug":3331,"title":3332,"dynasty":18,"author":2179,"museum":266,"description":3333,"tags":3334,"thumbUrl":3335,"material":303,"size":3336,"collection":124,"collections":3337,"showCount":3319,"zanCount":928,"manualWeight":48,"mainColor":49},218609,"shan-ju-xiao-si-tu-li-cheng-218609","山居萧寺图","积雪覆峦，寒林瘦劲，蟹爪枝如墨线垂曳，勾连起冬日山野的清寂。山间茅舍隐现，古寺檐角微露，溪流凝冰，石径蜿蜒，似藏着隐士的幽居岁月。笔墨苍劲中透着秀逸，卷云皴晕染出山峦肌理，留白处漾着雪意空濛。整体意境悠远淡远，尽显北宋山水的空灵与哲思，仿佛能听见林梢风过，窥见文人胸次里的丘壑万千。",[24,202,30,114,118,117,7,69,35,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ad420f8495b67d554fa9e28bec96d.jpg","127.3x63.7cm",[124],{"id":3339,"slug":3340,"title":3341,"dynasty":133,"author":1837,"museum":20,"description":3342,"tags":3343,"thumbUrl":3345,"material":506,"size":3346,"collection":124,"collections":3347,"showCount":3348,"zanCount":11,"manualWeight":48,"mainColor":128},220852,"shui-cun-tu-juan-zhao-meng-fu-220852","水村图卷","此图卷作于元大德六年（1302年），赵孟頫时年49岁，这是他最后一幅可靠的纪年作品。赵孟頫以水墨写江南水乡平远开阔的景色，从用笔到构图都受到董源的影响，但董源的画法已完全融入赵孟頫的个人风格之中，于不经意间表现出来。山用披麻皴画出，景物以平远的形式展开。渴笔较多，用笔松秀含蓄，“写”的意味较浓，体现了书法的审美趣味。画家借景抒情，表现了一种静穆的心态和对“平淡天真”的追求。此图重要之处在于其对元画独特风格的形成产生了较大的影响，由此可见赵孟頫在开创元、明、清文人画潮流中所起的重要作用。",[23,24,25,26,114,30,120,153,118,341,342,2796,7,32,3344,3148],"山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纵24.9厘米，横120.5厘米。",[124,103],149,{"id":3350,"slug":3351,"title":3352,"dynasty":133,"author":434,"museum":20,"description":3353,"tags":3354,"thumbUrl":3355,"material":78,"size":3356,"collection":124,"collections":3357,"showCount":3348,"zanCount":11,"manualWeight":48,"mainColor":49},214314,"dong-shan-si-zhu-tu-yi-ming-214314","东山丝竹图","此图画东晋谢安东山丝竹故事。\n图绘崇山峻岭，连绵不绝，云雾缭绕，溪流蜿蜒山间。下部绘庭院一座，华屋数楹，院中仕女多抱管弦乐器，院外主人正携仆恭迎远来的贵宾们。全图表现了谢安迎客于东山、丝竹管弦高奏的情节，动态鲜明，仿佛有丝丝乐声流溢而出。而山水佳景清逸幽雅，衬托出主人高逸的情怀。图中人物刻画细腻，画法近于元末盛懋一路，具体作者不得而知。",[23,24,25,28,30,118,61,62,7,64,116,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b23ad1f9ddfe456c8d38d90674e4715.jpg","纵188.5厘米，横103.3厘米",[124],{"id":3359,"slug":3360,"title":3361,"dynasty":54,"author":110,"museum":167,"description":3198,"tags":3362,"thumbUrl":3363,"material":122,"size":3364,"collection":124,"collections":3365,"showCount":3366,"zanCount":928,"manualWeight":48,"mainColor":49},222110,"chun-hua-zhou-jin-zhou-shen-zhou-222110","春华昼锦轴",[23,24,202,114,118,30,61,90,116,63,64,7,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405bbf6040c503cd558417b6c40a9a0b.jpg","278.6x95.7公分、全幅 122公分",[124,103],148,{"id":3368,"slug":3369,"title":3370,"dynasty":18,"author":3371,"museum":111,"description":3372,"tags":3373,"thumbUrl":3375,"material":78,"size":3376,"collection":124,"collections":3377,"showCount":3366,"zanCount":666,"manualWeight":48,"mainColor":49},214609,"jiao-yuan-ye-zhang-tu-wan-shan-ye-ma-lin-214609","郊园曳杖图纨扇页","马麟","郊园曳杖图是宋朝时期马麟所作的一幅著名的山水画。这幅画描绘了一个人在郊外散步的场景，画中的人物拿着一根曳杖，走在一片绿色的郊园里，周围环绕着山峦和树木。\n\n马麟是宋朝时期著名的画家，他的画风轻松优美，富有感性，并且注重写实。在他的作品中，常常出现山水画题材，他将山水画中的景物和人物结合起来，表现出人与自然和谐相处的意境。郊园曳杖图就是这样一幅作品，它展示了一个人在郊外散步的情景，与周围的山水相互融合，充满了自然之美。\n\n马麟的郊园曳杖图是一幅经典的山水画作品，其中细腻的笔墨，流畅的线条，精确的造型，以及生动的写意，都体现了马麟作为画家的高超技艺。这幅画不仅为后人留下了宝贵的艺术瑰宝，也为我们展现了宋朝时期山水画的魅力。",[2895,24,152,25,28,118,30,61,7,3374,153],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c4fe954c2ad1a1f925dcf460e2dd461.jpg","纵23.3 厘米 横23.7 厘米",[124],{"id":3379,"slug":3380,"title":2599,"dynasty":54,"author":434,"museum":167,"description":3381,"tags":3382,"thumbUrl":3383,"material":177,"size":179,"collection":179,"collections":3384,"showCount":3385,"zanCount":928,"manualWeight":48,"mainColor":128},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[23,24,25,26,114,30,118,119,153,60,341,342,7,115,63,64,116,156,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],147,{"id":3387,"slug":3388,"title":3389,"dynasty":223,"author":2792,"museum":459,"description":3390,"tags":3391,"thumbUrl":3392,"material":179,"size":179,"collection":179,"collections":3393,"showCount":3394,"zanCount":928,"manualWeight":48,"mainColor":128},224470,"xi-shan-xing-lv-tu-juan-wang-hui-224470","溪山行旅图卷","此作用长卷铺展千里江山，起首烟水澹澹，汀洲村舍隐在轻岚淡墨之中，随卷徐徐铺陈，峰岭渐次崛立。山石以披麻皴写就，笔力苍秀沉厚，林木攒簇郁茂，晕染出葱茏古雅的生机。\n\n山道、津渡间错落行旅身影，暗合林泉行游之趣，云烟流荡于峰腰谷壑，虚实相生，将平远、高远、深远诸法相融，层层延伸出咫尺含千里的山水格局。笔墨兼取元人松灵与宋人丘壑之密，既摹写出实景山水的清润幽深，亦藏着文人寄情林泉的澹然意绪，整卷气息静雅浑融，尽揽山川悠远之致。",[23,24,26,114,30,118,117,7,37,204,206,243,61,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aa1cd0866746b8aa5e4cf195a58da69.jpg",[],146,{"id":3396,"slug":3397,"title":3398,"dynasty":54,"author":434,"museum":3399,"description":3400,"tags":3401,"thumbUrl":3403,"material":3402,"size":179,"collection":44,"collections":3404,"showCount":3394,"zanCount":928,"manualWeight":48,"mainColor":49},222152,"fu-hui-xi-yi-ming-222152","赴会西","法海寺","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便拮取其中的一花一叶，其精妙致之绝，直逼故宫所藏宋画团扇。小桥流水，篱笆曲径，瀑布水浪自流于竹蕉山石之下，牡丹荷花盛开于苍松菩提之间，充满了现实生活气息，令人玩味不尽，叹为观止。",[23,24,3402,923,28,29,61,1856,7,63,1621,117,26],"壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a3843792607369b3d33ef8fab9484.jpg",[44],{"id":3406,"slug":3407,"title":3408,"dynasty":54,"author":3409,"museum":382,"description":3410,"tags":3411,"thumbUrl":3413,"material":78,"size":3414,"collection":44,"collections":3415,"showCount":3416,"zanCount":666,"manualWeight":48,"mainColor":49},219564,"huo-lang-tu-cui-zi-zhong-219564","货郎图","崔子忠","明代流传至今的《货郎图》绘者如计盛、吕文英、崔子忠、姜隐，还有诸佚名的《货郎图》，虽风格不一，或设色或白描，但大部分的货郎都是挑着华丽的货担，货架精雕细琢、所售器物五花八门，孩子们前簇后拥，玩着猴子、蟋蟀、皮影、书籍、花枝，不亦乐乎，场景往往热闹非凡。",[23,24,29,28,202,704,61,1170,3412,540,117,1621,156,175,7],"货郎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73c1b2b4649dfef47e2ac975b98f223.jpg","纵205横125厘米",[44,45],145,{"id":3418,"slug":3419,"title":3420,"dynasty":54,"author":955,"museum":167,"description":3421,"tags":3422,"thumbUrl":3423,"material":303,"size":179,"collection":124,"collections":3424,"showCount":3416,"zanCount":928,"manualWeight":48,"mainColor":128},214616,"fang-huang-gong-wang-dou-he-mi-lin-dong-qi-chang-214616","仿黄公望陡壑密林","董其昌是一位著名的明代画家，他的作品《仿黄公望陡壑密林》是一幅杂乱的山林画，充分展现了董其昌对自然的描绘能力。\n\n在这幅画中，董其昌通过细致的笔触和细腻的色彩，精确地描绘出了山林中的每一个细节。他使用浓密的线条和暗色调描绘出了树木，使得整幅画呈现出一种茂密的森林氛围。同时，董其昌还使用了浅色调和柔和的线条描绘出了山谷的景色，使得画面显得更加生动。\n\n总的来说，《仿黄公望陡壑密林》是一幅令人印象深刻的山林画，展示了董其昌的画风独特，也诠释了他对自然的热爱和描绘能力。",[24,25,114,118,60,385,30,341,7,206,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c809d6e5fc35ec243b8d09d730397b.jpg",[124],{"id":3426,"slug":3427,"title":3428,"dynasty":18,"author":2179,"museum":658,"description":3429,"tags":3430,"thumbUrl":3434,"material":100,"size":3435,"collection":42,"collections":3436,"showCount":3437,"zanCount":48,"manualWeight":48,"mainColor":49},221414,"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","由于这幅《茂林远岫图卷》没有款识，后代的收藏者也都是根据画卷后部南宋向冰、元代倪瓒以及明初张天骏三人的题跋，而将其作者定为李成。明、清时期的张丑、吴升等曾认定题跋为后人补配，怀疑作品不是李成真迹。当代鉴定家对这件作品的作者归属问题也存在着诸多推论。其实，欣赏一件古代的书画作品，首先着重看的是它的艺术质量与笔墨精神，真伪问题应在其后。\n《茂林远岫图》经南宋贾似道、元代鲜于枢、明代项元汴、清代梁清标等名家收藏，后入清宫内府，上有百余方收藏印迹。作品后有南宋向冰、元人倪瓒、明人张天骏三人题跋。画上有乾隆的一首七言诗：“元气淋漓万木枝，荆关而外自成师。奁屏合付闺中秀，砚匣琉璃冥写时。”由于南宋向冰在卷后题跋中称此图为北宋李成所作，所以该作品多被看做是流传有绪、唯一可信的李成真迹。\n展阅北宋画家李成的《茂林远岫图》轴，它给人的第一印象就是场面开阔、气势恢弘。远处的山峰顶天立地，给人以庄严、豪迈之感。近景处，小桥流水、泊岸轻舟，以及来来往往的行人车马，给人一种轻柔舒缓的感觉。它们与雄浑、巍峨的远山搭配协调、刚柔相济。楼台寺塔、流泉飞瀑点缀于溪畔崖间；丛林苍翠，连绵不断，让人观后顿觉心情舒畅。\n《茂林远岫图》用笔劲健平和，线条纤细而不孱弱，骨力内蕴，如绵里裹针。岩石先用瘦劲的线条勾勒，再以清晰、细劲的小线条慢慢皴写，层层叠加。作品用墨谨慎小心。尤其淡墨，更是细腻持重、清逸传神。作品设色不多。即使设色的地方，也是清新、醇厚，有一种雍容典雅的韵味，没有丝毫的火气与造作。\n北宋画家王诜曾将李成的画与范宽的画做过比较，说李成的画“墨润而笔净，烟岚轻动，如对面千里，秀气可掬”。的确，与范宽的画相比，李成的画更为文气，这与李成具有广博、丰厚的学识大有关系。李成的画有较浓的书卷气，这一点在传为李成的《茂林远岫图》中也体现得很明显。\n以平远法构图来表现清旷、幽远的画境是李成山水画的一大特色。他之所以多用平远法构图，一是因为平远法适合表现山东平原的烟林远丘，容易营造一种一望无际、层层推进的视觉效果，让人感觉阔远（如果用高远法或深远法来表现，就会显得局促、窄小）；二是与李成的经历有关。虽然他在世时，李唐王朝已灭亡十几年了，但作为皇族后裔的他，并不甘心就此埋没，还想东山再起。可因家道中落、仕途不顺、兵灾人祸等种种原因，他走仕途的理想最终未能实现。在多次遭到挫折的情况下，他将自己的人生目标转移到绘画上，以求得内心的平静。这一追求体现在画面上，就是意境冲淡、平和，并带有萧疏之气。平远的构图，使画家能深入地描绘对象，思维不自觉地延伸，从而达到内心的宁静。宋代郭若虚《图画见闻志》评价李成的作品“气象萧疏，烟林清旷”，甚是贴切。",[23,24,152,25,26,30,118,28,3431,500,7,117,37,3432,140,3433,211,206,676],"茂林","淡墨","层峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","纵45.4厘米，横141.8厘米",[42,124,103],144,{"id":3439,"slug":3440,"title":3441,"dynasty":133,"author":909,"museum":167,"description":3442,"tags":3443,"thumbUrl":3444,"material":303,"size":3445,"collection":124,"collections":3446,"showCount":3437,"zanCount":928,"manualWeight":48,"mainColor":128},220789,"shu-lin-yuan-xiu-tu-zhou-ni-zan-220789","疎林远岫图轴","水墨畫河岸、疏樹、竹林與房舍，對岸則山巒起伏。用筆多中鋒，山石皴法以披麻為主，略有折帶筆意。幅上有壬子（一三七二）年款，時七十二歲。然本幅題款，實摹自本院藏倪氏真本「容膝齊圖」。用筆亦無倪氏一代大家之健勁，顯係後代摹品。",[24,25,202,114,118,30,7,328,342,35,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ea5b0016ae78ee46681955a92009ac.jpg","72.9x37.5",[124,103],{"id":3448,"slug":3449,"title":3450,"dynasty":133,"author":636,"museum":20,"description":3451,"tags":3452,"thumbUrl":3454,"material":140,"size":3455,"collection":124,"collections":3456,"showCount":3437,"zanCount":928,"manualWeight":48,"mainColor":49},220779,"xi-shan-gao-yin-tu-wu-zhen-220779","溪山高隐图","《溪山高隐图》是元代画家吴镇创作的绢本墨笔画，现藏于北京故宫博物院。\n图绘高山巨石层峦重叠，远山云雾朦胧栈道顺山崖伸延，迂回盘绕，树林后溪水一湾，水榭半露，充满夏日中葱郁气氛，山石以水墨渲染，淡施披麻皴，圆点浓墨点苔。笔法稳健，墨气湿润。全画构图呈长方形，上不留天，下不留地，构图虽饱满，但密而不塞，疏密相间，故布局十分得宜。\n该图以深远式构图，远处高山叠嶂，群峰突起，高高耸起，山巅处云蒸霞蔚，山色柔和绵连。山坡和山坳处荆棘和杂木丛生。中间山腰处山石嶙峋突兀，山石或纵立，或横卧于山腰间，山径顺山脚伸延，蜿蜒迂回盘旋，成为上下山的一栈道、近景茂密的丛林后有溪水一湾，在山脚下临溪边有一间水榭，在山石和丛树的掩映下半露半隐，环境十分清静幽雅，充满夏日丰饶葱茏的气氛。\n吴镇的绘画题材大多为渔父、古木、竹石之类，均表现江南名山景色。《溪山高隐图》是他山水画中的代表作之一。《溪山高隐图》是其取法”巨然的一张典型作品。因为和巨然的作品《秋山问道图》比较，《溪山高隐图》似乎是临摹《秋山问道图》而比较萧散的作品。\n作者纯用水墨，利用其深浅浓淡，创造出一个静谧安详的环境，画幅较为孤寂、冷清的情凋也是画家处世态度的生动写照。山石以水墨渲染，淡披麻皴。这种皴法从巨然披麻皴出，把笔拉得垂直。他后来创造的“刮铁皴”，仿佛又硬又直，却硬中有婉，直中有收，笔头不枯硬，灵气从笔端间轻轻逸出，以圆点浓墨点苔，笔法稳健，墨气湿润，画法源于董源、巨然一路。近处坡石的用墨，以及秃笔随意点写树叶苔草的画法，是他的典型风格。\n《溪山高隐图》皴笔沉厚，坡角山边用笔大胆，横扫而出，用笔意味更似写意。主要山石皴笔提按变化明显，用笔奔放，是“写”出而非“皴”出。此图主峰最上部有一组巨石，用横侧笔势刷出，显然出自李唐马夏一系的斧劈皴。\n宋画研究学者寿勤泽：这幅画气势不凡，层峦叠岭，雄伟高峻，下方丛树溪水，临溪筑有草房两间，屋旁有小径通向山间。仅一片房屋处略施淡赭，通篇皆水墨。此图和常见的吴镇画有所区别，皴法以长披麻皴为主，法巨然画派画格，但线条较长，细长而且疏朗，似有不胜其力之感。",[23,24,25,3453,202,114,118,30,243,117,7,540,64],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b125a83a0553db70e8f576523b37fb5.jpg","纵160.5厘米，横73.4厘米",[124,103],{"id":3458,"slug":3459,"title":3460,"dynasty":223,"author":2792,"museum":167,"description":3461,"tags":3462,"thumbUrl":3463,"material":122,"size":3464,"collection":124,"collections":3465,"showCount":3437,"zanCount":928,"manualWeight":48,"mainColor":49},220374,"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔， 既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[23,24,25,202,28,30,1081,117,204,64,62,7,153,119,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[124,45],{"id":3467,"slug":3468,"title":1791,"dynasty":223,"author":3469,"museum":20,"description":3470,"tags":3471,"thumbUrl":3472,"material":78,"size":3473,"collection":124,"collections":3474,"showCount":3437,"zanCount":11,"manualWeight":48,"mainColor":985},219222,"qing-lv-shan-shui-tu-xie-sun-219222","谢荪","图绘近景溪水岸边房舍错落；远处高山耸立，林木繁茂。构图深远、高远兼备，富有空间层次变化。用笔工整细密，山石树木以石青石绿点染，画风清丽淡雅。此图与传统的青绿山水相比较，更多一分清新明快，是谢荪山水画的代表作",[23,24,25,27,28,30,7,117,64,62,35,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fcff4bf8950f827d1dc39bf1bc74fe.jpg","纵157.2厘米，横52.6厘米",[124],{"id":3476,"slug":3477,"title":3478,"dynasty":18,"author":3479,"museum":3480,"description":3481,"tags":3482,"thumbUrl":3485,"material":303,"size":3486,"collection":179,"collections":3487,"showCount":3437,"zanCount":11,"manualWeight":48,"mainColor":49},219192,"xiao-xiang-ba-jing-yu-cun-xi-zhao-mu-xi-219192","潇湘八景-渔村夕照","牧溪","根津美术馆","烟霭似梦，轻覆潇湘水畔。远山如黛，在朦胧雾气中层层隐现，墨色浓淡间藏着天地的悠远。近岸林木苍劲，枝桠舒展，与嶙峋山石相映。水面上扁舟缓行，渔人影绰，似在暮色里寻归处。几处屋舍疏落，隐于树影烟岚间，不闻喧嚣，唯余静谧。\n\n水墨晕染出夕照的温柔，没有浓艳色彩，却以极简之笔勾勒出渔村黄昏的禅意空灵——天地人在此相融，时光仿佛停滞，只留山水与自然的清寂对话。每一处墨痕都藏着野趣与淡泊，让观者沉浸在这份恬淡悠远的意境里，似能听见风过林梢、水拍船舷的轻响，忘却尘俗纷扰。",[23,152,24,25,114,118,30,115,7,3483,2395,3484],"烟雾","渔村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0abab9aa023a77aaf3089f0f4a2f97.jpg","33x112厘米",[],{"id":3489,"slug":3490,"title":3491,"dynasty":18,"author":671,"museum":459,"description":3492,"tags":3493,"thumbUrl":3494,"material":179,"size":179,"collection":179,"collections":3495,"showCount":3496,"zanCount":928,"manualWeight":48,"mainColor":49},227516,"wang-wei-shi-yi-tu-li-zhou-mi-fei-227516","王维诗意图立轴","米芾，字元章，号鹿门居士、襄阳漫士、海岳外史，北宋著名大书画家，鉴藏家。祖籍太原，后迁居襄阳，人称“米襄阳”。宣和年间为徽宗赵佶召为书画学博士。\n\n米芾能诗擅文，书画尤具功力。篆、隶、行、草、楷各体皆能，行草造诣尤高。芾自云学过各家各派，但从其作品观之，得王献之、释智永二家最多。其书淋漓痛快，隽雅奇变，晚年书艺更达至炉火纯青之境。与苏轼、黄庭坚、蔡襄合称“宋四家”。",[23,24,202,114,30,118,7,64,117,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ca00f8b933044d132ee6e26db3b619.jpg",[],143,{"id":3498,"slug":3499,"title":3500,"dynasty":18,"author":312,"museum":423,"description":3501,"tags":3502,"thumbUrl":3505,"material":78,"size":3506,"collection":124,"collections":3507,"showCount":3496,"zanCount":467,"manualWeight":48,"mainColor":49},218571,"xia-shan-bi-shu-tu-xia-gui-218571","夏山避暑图","云雾似轻纱漫笼峰峦，墨色浓淡晕染出层叠山影。近处山石以劲挺线条勾勒肌理，远处峰峦隐入烟霭，虚实相生间拓开深远意境。飞瀑如白练倾泻而下，水汽与云雾交融，添了几分灵动。崖畔小亭古朴雅致，亭内人影隐约，或凭栏观瀑，或对弈品茗，将“避暑”闲逸悄然藏于山水。苍松虬枝斜出，与嶙峋怪石相映，笔墨苍劲中透着秀逸。整幅画以水墨为韵，借云雾之虚衬山峦之实，动静相宜间铺展夏日山林的清幽闲适，让人仿若置身其中，忘却尘嚣。",[24,152,25,30,114,118,116,204,37,117,7,500,206,501,3503,3504],"古松","山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50cf148ebc8bbac9a702b14d084294e.jpg","81x35cm",[124],{"id":3509,"slug":3510,"title":3511,"dynasty":18,"author":575,"museum":459,"description":3512,"tags":3513,"thumbUrl":3514,"material":303,"size":3515,"collection":103,"collections":3516,"showCount":3496,"zanCount":928,"manualWeight":48,"mainColor":128},218564,"song-gao-zong-yu-zhi-xi-gong-yan-tu-ma-yuan-218564","宋高宗御制西宫宴图","马远绘侍宴图传世三件中的其中一幅",[24,152,25,202,59,114,30,62,540,117,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b00e67510889e575c54629198f5565.jpg","122.5x52.2",[103],{"id":3518,"slug":3519,"title":3520,"dynasty":18,"author":2179,"museum":3521,"description":3522,"tags":3523,"thumbUrl":3524,"material":140,"size":3525,"collection":42,"collections":3526,"showCount":3527,"zanCount":48,"manualWeight":48,"mainColor":49},221440,"han-lin-gao-shi-tu-zhou-li-cheng-221440","寒林高士图轴","美国弗瑞尔美术馆","李成（公元 919年 -967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[23,24,114,202,30,748,2043,7,117,64,500,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425bbd40a0bd5977059e42cdf3fd2910.jpg","174 x 89.2 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，淡设色","纵290cm，横131.5cm",[124],141,{"id":3559,"slug":3560,"title":3561,"dynasty":18,"author":239,"museum":167,"description":3562,"tags":3563,"thumbUrl":3567,"material":555,"size":3568,"collection":124,"collections":3569,"showCount":3557,"zanCount":11,"manualWeight":48,"mainColor":49},218953,"guan-bei-tu-guo-xi-218953","观碑图","寒冷的森林平坦而遥远，松树的枝干已经枯萎。这两个人靠在石碑上，而四个人站在他们前面的右边，带着马鞍和马在伞下，他们的表情非常有表情。这幅画描绘了汉朝时曹操和杨修一起看《曹娥碑》的情景。这幅画没有记号，传统上认为是郭熙所作。然而，这幅画的风格，倾斜的石头和松散的树枝，以及参差不齐的夸张树干，并没有给人以郭熙的建议的感觉。其他现存的涉及看纪念碑的画作包括大阪市立美术馆收藏的《读碑石》，这幅画主要描绘的是残存纪念碑的寒冷森林场景，以此来让观者思考过去。",[23,152,24,25,202,201,118,475,61,90,3564,3565,117,502,3566,7],"碑","古树","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680d1f7d1ced6d46fbc9bb38d75e4147.jpg","164.4x119",[124],{"id":3571,"slug":3572,"title":3573,"dynasty":223,"author":381,"museum":382,"description":383,"tags":3574,"thumbUrl":3575,"material":122,"size":389,"collection":179,"collections":3576,"showCount":3577,"zanCount":928,"manualWeight":48,"mainColor":128},214890,"shan-shui-tu-ce-3-shi-tao-214890","山水图册-3",[23,24,25,385,114,28,118,30,115,64,117,7,37,61,1300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f99fe4ff77ab4950fd6bc2d79236725.jpg",[],140,{"id":3579,"slug":3580,"title":3581,"dynasty":54,"author":3582,"museum":3583,"description":3584,"tags":3585,"thumbUrl":3587,"material":415,"size":3588,"collection":124,"collections":3589,"showCount":3590,"zanCount":48,"manualWeight":48,"mainColor":128},221882,"chu-chu-tu-juan-quan-juan-chen-hong-shou-221882","出处图卷全卷","陈洪绶","张大千先生的旧藏","画卷前后隔水留下了他的墨宝。此卷是陈洪绶在去世前一年为周亮工所作，这一年陈洪绶相继为周亮工一共创作了42件作品，《出处图》则是其中的精品。展卷之后可见诸葛亮与陶渊明盘坐于树下正侃侃而谈，诸葛亮头戴“诸葛巾”，陶渊明则手抚无弦琴，形象格调高古，气韵不凡，人物衣袖由一根根行云流水般的线条绘就，每根线条都不另起笔，如若不加停顿似的一气呵成，而线条与线条的排列则构成了陈洪绶特有的韵味。",[23,24,25,26,29,28,61,30,7,64,289,119,120,3586],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9517553124fbf7960f3c43dce25b9cc5.jpg","26×195cm",[124,45],139,{"id":3592,"slug":3593,"title":3594,"dynasty":18,"author":3595,"museum":149,"description":3596,"tags":3597,"thumbUrl":3602,"material":40,"size":3603,"collection":1822,"collections":3604,"showCount":3590,"zanCount":928,"manualWeight":48,"mainColor":128},221228,"hu-zhuang-qing-xia-tu-zhao-ling-rang-221228","湖庄清夏图","赵令穰","《湖庄清夏图》描绘了夏季湖的平远景色。开卷是湖庄临岸，垂柳拂溪；接接着一座小桥横跨水上，湖中莲叶田田，群鸭游;岸上绿树成的，远处烟水迷蒙；路转溪头，又见绿树环抱中，数间村舍，屋后一片林木，在烟雾笼罩下，横向舒展，时隐时显，更增加悠然的灵动气氛，充满幻梦般的诗意。卷末近景描绘三株形态各异的大树，与卷首树木相呼应，左下角有明代早期收藏印。",[23,152,24,25,26,30,114,28,118,3432,7,3598,34,3599,500,345,116,3600,3601],"湖水","岸堤","湖岸","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6d42310b30e6d6aee565943dd6d4ff.jpg","纵19.1厘米，横161.3厘米",[1822],{"id":3606,"slug":3607,"title":3608,"dynasty":54,"author":110,"museum":111,"description":3609,"tags":3610,"thumbUrl":3611,"material":78,"size":3612,"collection":124,"collections":3613,"showCount":3590,"zanCount":631,"manualWeight":48,"mainColor":49},218247,"lin-dai-wen-jin-xie-an-dong-shan-tu-shen-zhou-218247","临戴文进谢安东山图","沈周（1427-1509年），字启南，号石田、白石翁，苏州人，不应科举，以诗文书画为事，山水师黄公望、吴镇，书法法黄庭坚，名重一时，吴中名家如文徵明、唐寅等都出其门下。与文徵明、唐寅、仇英合称“明四家”。\n本图是沈周五十四岁时所作，临摹的是比他略早的浙派著名画家戴进的《谢安东山图》，描绘东晋著名宰相谢安隐居东山时，携妓出游，纵情山水的情景。\n沈周的山水画，师法元代黄公望与吴镇，远溯五代董源、巨然，而戴进宗法的是南宋马远、夏圭，以风格而论，一为南方山水与水墨画的传统，一为北方山水与宫廷著色画的传统。沈周画多仿元人，此画风格在他的作品中既是一件孤品，也是一件奇品，堪称绝无仅有。\n此图高头大轴，青绿设色，山石轮廓明朗，皴笔似马牙、卷云而不若其蜷曲，似斧劈而不若其方硬，似披麻而不若其疏放绵长，这种皴法与戴进常用的源自马、夏的长斧劈皴不同，融合了南、北方山水的皴法特点。图画设色明朗鲜润，一部分山石近乎空勾，是宋代以来大青绿的设色方法。沈周一生所作山水，多为水墨，亦有浅绛，如此大轴青绿，实属平生仅见。其中人物亦造型端庄，服饰俨然，线条健爽，是明人追绍宋代院体画的风格。\n沈周此图或属偶一为之，却显示出画家不拘于一格的绘画能力以及兼收并蓄，广采博纳的眼界与胸襟。\n根据翁同龢1902年的日记，此画是翁氏因戊戌之变被黜归里后，其旧仆李元为其在北京购得的。",[23,24,25,152,202,28,30,61,62,540,117,204,7,243,60,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4136bf4cc51a9c489487d6a27dbe7d3a.jpg","纵170.0厘米，横89.0厘米",[124],{"id":3615,"slug":3616,"title":3617,"dynasty":18,"author":3618,"museum":167,"description":3619,"tags":3620,"thumbUrl":3621,"material":140,"size":3622,"collection":42,"collections":3623,"showCount":3624,"zanCount":48,"manualWeight":48,"mainColor":49},221619,"mo-fan-kuan-lu-shan-tu-zhou-jiang-can-221619","摹范宽庐山图轴","江参","本幅旧传为江参作，画采全景式构图，中央主峰巍峨耸立，峰顶遍布密林。山坳处，寺宇、亭台错落。\n杂树掩映间，可见泉瀑奔流，淙淙若闻其声。山道上，并绘有行旅策蹇，络绎于途。幅左下方题：「摹范华原庐山图」。《宣和画谱》虽未著录〈庐山图〉，然此作以短笔作皴，呈密集的雨点状，明显由〈溪山行旅图〉演化而来。",[23,24,25,202,60,118,114,30,341,244,7,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F826530b8c83c87209bddce538d219a64.jpg","347.4x131.8",[42,124,103],138,{"id":3626,"slug":3627,"title":3628,"dynasty":54,"author":110,"museum":485,"description":486,"tags":3629,"thumbUrl":3631,"material":360,"size":490,"collection":179,"collections":3632,"showCount":3633,"zanCount":48,"manualWeight":48,"mainColor":49},220063,"hu-qiu-shi-er-jing-tu-ce-4-shen-zhou-220063","虎丘十二景图册-4",[23,24,152,385,114,30,116,62,61,7,276,3630,118],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bce900b7fa22a36598aac7aa31efa9d.jpg",[],137,{"id":3635,"slug":3636,"title":3637,"dynasty":133,"author":1837,"museum":167,"description":3638,"tags":3639,"thumbUrl":3640,"material":360,"size":3641,"collection":179,"collections":3642,"showCount":3643,"zanCount":11,"manualWeight":48,"mainColor":49},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[23,24,25,26,114,28,30,7,2796,32,35,120,119,153,118,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":3645,"slug":3646,"title":3647,"dynasty":990,"author":2844,"museum":20,"description":3648,"tags":3649,"thumbUrl":3652,"material":140,"size":3653,"collection":44,"collections":3654,"showCount":3643,"zanCount":11,"manualWeight":48,"mainColor":49},221136,"yu-yuan-cai-lian-tu-li-si-xun-221136","御苑采莲图","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网格水纹，辉煌明丽，富有装饰性。此卷为吴景洲先生于1947年倾囊得之，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,24,27,28,29,59,30,62,61,63,64,2193,7,117,399,3650,3651],"莲","采莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0bbca3f486b9ed26103a6d871d1d0e.jpg","23.90x77.20cm",[44,45],{"id":3656,"slug":3657,"title":3658,"dynasty":223,"author":647,"museum":20,"description":3659,"tags":3660,"thumbUrl":3661,"material":303,"size":3662,"collection":124,"collections":3663,"showCount":3643,"zanCount":48,"manualWeight":48,"mainColor":128},218472,"fang-wu-zhen-shan-shui-tu-wang-yuan-qi-218472","仿吴镇山水图","此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[23,24,114,118,60,202,30,117,7,32,35,676,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2da35a1678545e4fb7f9d72c52f6e7.jpg","纵141.7厘米，横51厘米",[124],{"id":3665,"slug":3666,"title":2722,"dynasty":223,"author":434,"museum":20,"description":2723,"tags":3667,"thumbUrl":3673,"material":40,"size":330,"collection":179,"collections":3674,"showCount":3675,"zanCount":48,"manualWeight":48,"mainColor":49},236169,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236169",[24,28,29,59,30,62,694,61,676,117,7,3668,3669,3670,3671,3672,804],"行乐图","宫廷生活","节令风俗","中式建筑","西式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff841a07266c24ab45bc115c2dd2f7821.jpg",[],135,{"id":3677,"slug":3678,"title":3679,"dynasty":223,"author":3550,"museum":459,"description":3680,"tags":3681,"thumbUrl":3682,"material":230,"size":3683,"collection":124,"collections":3684,"showCount":3675,"zanCount":48,"manualWeight":48,"mainColor":128},222665,"xi-shan-qiu-yu-tu-kun-can-222665","溪山秋雨图","描绘的是古木流泉，高人独坐，体现出一派野逸之趣。髡残之画卷苍老雄浑，深沉豪迈，以老辣见胜，但相对而言，此图当属相对文雅、宁静一路画风。\n通观全画，不禁让人想起王蒙的代表作《葛稚川移居图》，但髡残在构图和技法上均做了简化处理。整幅画采用是全景式繁密构图，前景处山石耸立，几株树木立于 其上，呈现出不同的生长态势。画面左下角一座小桥向后延伸，一位樵夫缓缓行走，引出画面的中景。远景一座大山巍峨挺立，一座茅屋筑于半山腰，为这幅画增添 了不少人气。\n髡残将王蒙画中那股山体蜿蜒向上的强烈夸张的扭势处理成了文雅、宁静的气象，笔法上对王蒙有所借鉴，山石多用披麻皴、解索皴，用赭石染山石，色泽浓厚，并且在山石轮廓上用焦墨钩提。\n髡残师古人乃食古而化，不过是以古人酒杯浇自家胸中块垒，所以体现出来的仍是自己的精神面貌，其画构图奇特、境界幽深，是其广师造化的结果。髡残之画在当时画坛独树一帜，后人把他和石涛并称“二石”，是明清两代中最有生气的画家。",[23,24,114,28,118,202,30,117,7,35,63,64,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c669070e4f6774a5897c1f4946ba35.jpg","纵113CM 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横37.5厘米",[124,103],{"id":3749,"slug":3750,"title":3751,"dynasty":223,"author":1579,"museum":3752,"description":3753,"tags":3754,"thumbUrl":3757,"material":3758,"size":3759,"collection":124,"collections":3760,"showCount":3728,"zanCount":11,"manualWeight":48,"mainColor":128},221002,"hua-dao-xi-yang-tu-yun-shou-ping-221002","花岛夕阳图","日本京都国立博物馆","恽寿平山水画初学元黄公望、王蒙，深得冷澹幽隽之致。又以没骨法画花卉、禽兽、草虫，自谓承徐崇嗣没骨花法。创作态度严谨，认为“惟能极似，才能传神。”“每画一花，必折是花插之瓶中，极力描摹，必得其生香活色而后已”。他画法不同一般，是“点染粉笔带脂，点后复以染笔足之”，创造了一种笔法透逸，设色明净，格调清雅的“恽体”花卉画风，而成为一代宗匠。对明末清初的花卉画有“起衰之功”，被尊为“写生正派”，影响波及大江南北，史载：“近日无论江南江北，莫不家家南田，户户正叔，遂有‘常州派'之目”。",[23,24,28,114,26,30,2395,243,37,7,34,358,64,156,118,1376,775,500,3755,528,540,3601,3756],"近景","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2703852885af6a04ae01bf1fbdb64d9d.jpg","纸本 设色","26cmx111cm",[124,45],{"id":3762,"slug":3763,"title":3764,"dynasty":18,"author":1865,"museum":299,"description":3765,"tags":3766,"thumbUrl":3768,"material":303,"size":3769,"collection":42,"collections":3770,"showCount":3728,"zanCount":48,"manualWeight":48,"mainColor":128},219861,"yuan-xiu-qing-yun-tu-mi-you-ren-219861","远岫晴云图","《远岫晴云图》是北宋书画家米友仁所创作的一幅水墨设色画，现藏于日本大阪市立美术馆。\n该画作是一幅文人画，描绘的是米友仁笔下常见的山水风景，画中以湿润的笔墨点染云山树石，表现烟云变幻、山色朦胧的动人景象。“米氏云山”的特色展示得淋漓尽致。\n《远岫晴云图》绘制的是烟雨迷蒙时的风景，远山模糊不清，近树萧疏迷离，一条溪流潺潺自远处绕到赏者面前。图中左下角作一小丛树，间隔溪水的对岸是云气缭绕的疏林，远处是尖锐如刻削的山峦。\n画面上有款“元晖戏作”四个字，上方另有横纸又自题“绍兴甲寅元夕前一日，自新昌泛舟来赴朝参，居临安七宝山戏作小卷，付与廪收口”。",[152,24,25,114,30,500,881,7,117,118,3767],"米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe5e3ae0ecfe57c4dc77a8c68325a4c.jpg","24.7x28.6cm",[42],{"id":3772,"slug":3773,"title":3774,"dynasty":223,"author":3775,"museum":56,"description":3776,"tags":3777,"thumbUrl":3779,"material":303,"size":3780,"collection":124,"collections":3781,"showCount":3728,"zanCount":48,"manualWeight":48,"mainColor":128},218297,"fang-wang-meng-xi-shan-xing-lv-tu-wu-li-218297","仿王蒙溪山行旅图","吴历","这幅画是对王蒙溪山行旅的临摹。",[24,114,30,202,60,118,63,64,3778,7,117,115],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33014df16be3309cc002f849849cc715.jpg","59.1x27cm",[124],{"id":3783,"slug":3784,"title":3785,"dynasty":54,"author":3786,"museum":167,"description":3787,"tags":3788,"thumbUrl":3791,"material":78,"size":3792,"collection":331,"collections":3793,"showCount":3728,"zanCount":928,"manualWeight":48,"mainColor":49},216221,"jin-pu-ming-chun-tu-lu-zhi-216221","锦圃鸣春图","陆治","这幅画描绘了两只孔雀在牡丹园里争奇斗艳，鸟儿在玉兰树上春风得意。这幅画色彩热烈，反映了陆治在山水、花鸟方面的多面性。\n陆治，明代画家，工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，在吴门派画家中具有一定新意，与陈淳并重于世。",[24,25,152,202,29,28,171,172,567,7,117,3789,3790,2406],"小草","白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50c4c81b69ff6eb527a5c62b8b31e46.jpg","纵146厘米，横89厘米",[331],{"id":3795,"slug":3796,"title":2722,"dynasty":223,"author":434,"museum":20,"description":2723,"tags":3797,"thumbUrl":3798,"material":40,"size":330,"collection":179,"collections":3799,"showCount":3800,"zanCount":48,"manualWeight":48,"mainColor":49},236171,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236171",[24,28,29,59,30,61,62,70,154,117,116,64,7,2450,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa7b59ca91897a30691a9a29a57869a.jpg",[],133,{"id":3802,"slug":3803,"title":255,"dynasty":223,"author":1533,"museum":368,"description":3804,"tags":3805,"thumbUrl":3808,"material":360,"size":3809,"collection":124,"collections":3810,"showCount":3800,"zanCount":48,"manualWeight":48,"mainColor":1138},224481,"fu-chun-shan-ju-tu-wang-jian-224481","《富春山居图》轴仿作即深得黄公望用笔之妙，虚实、粗细、轻重、缓急富有变化，恰当地表现了前后景致的空间距离和起承转合；细润中锋含蓄流畅，山川景象清旷深秀。作品以笔墨形式为主体，创造出了优美动人的境界。该轴作于1658年，王鉴时年61岁，正是其绘画技法鼎盛时期。\n此幅富春山居图，而作立轴，并染以浅绛色。笔墨交融，敷色清雅，表达了王鉴对前辈大师经典的敬佩之情。",[23,152,24,25,202,114,28,2451,30,64,62,117,7,118,60,3806,3807],"清旷深秀","敷色清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc6fe68c1be28db40b2fd2f41520f3d.jpg","117.5x50.5厘米",[124],{"id":3812,"slug":3813,"title":3814,"dynasty":133,"author":1837,"museum":167,"description":3815,"tags":3816,"thumbUrl":3819,"material":303,"size":3820,"collection":124,"collections":3821,"showCount":3800,"zanCount":11,"manualWeight":48,"mainColor":128},219902,"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[23,24,152,25,26,114,118,120,153,30,2715,115,7,243,3817,3818],"岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纵28.4、横176.4厘米",[124],{"id":3823,"slug":3824,"title":3825,"dynasty":223,"author":3826,"museum":514,"description":3827,"tags":3828,"thumbUrl":3829,"material":122,"size":3830,"collection":124,"collections":3831,"showCount":3800,"zanCount":11,"manualWeight":48,"mainColor":128},214486,"he-yi-shan-shui-tu-ce-he-yi-214486","赫奕山水图册","赫奕","清代画家赫奕的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了赫奕对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n赫奕是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，赫奕的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[23,152,24,25,385,114,118,30,7,358,117,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c971e483bde479efdfd6ef31b912533.jpg","34x25cm",[124],{"id":3833,"slug":3834,"title":3835,"dynasty":223,"author":3836,"museum":266,"description":3837,"tags":3838,"thumbUrl":3839,"material":360,"size":3840,"collection":179,"collections":3841,"showCount":3800,"zanCount":11,"manualWeight":48,"mainColor":49},214360,"san-jue-shan-shui-ce-6-hua-yan-214360","三绝山水册-6","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,25,385,114,28,30,289,7,61,64,500,119,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7608d5a899512f1784976f15ec1988c3.jpg","23.4x15.8",[],{"id":3843,"slug":3844,"title":3845,"dynasty":54,"author":955,"museum":459,"description":3846,"tags":3847,"thumbUrl":3848,"material":808,"size":809,"collection":179,"collections":3849,"showCount":82,"zanCount":666,"manualWeight":48,"mainColor":128},283732,"qing-bian-tu-zhou-dong-qi-chang-283732","青卞图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,152,25,202,114,30,118,117,7,64,243,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d6a3abb2d15fedf1da6bba94a512ac.jpg",[],{"id":3851,"slug":3852,"title":3853,"dynasty":54,"author":2636,"museum":3854,"description":3855,"tags":3856,"thumbUrl":3857,"material":230,"size":3858,"collection":124,"collections":3859,"showCount":82,"zanCount":467,"manualWeight":48,"mainColor":128},221947,"wan-he-zheng-liu-tu-zhou-wen-zheng-ming-221947","万壑争流图轴","南京博物馆","图绘峡峨山势，山泉争流而下，山下溪水淙淙，坡上林木葱郁。画山用湿润的披麻破，行笔细节秀润，满纸青绿，场面壮观。\n满纸青绿设色，其法是先将浅赭色普染山石，然后留下石根之赭色，再将石绿、石青，而至墨青(花青和墨)色，薄薄地按序自下而上，分层积染。但文徵明匠心独运：其一，青绿中调和淡墨，清润幽雅，已不似以往大青绿之奇艳夺目；其二，石色薄敷，不掩墨骨，故仍是元初赵孟頫青绿设色方法的演变，无愧为文徵明晚年细笔青绿山水中的精品。",[23,24,25,202,28,30,118,64,7,117,61,204,540,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec8b65dd08d53416021b6376bc9a1c.jpg","纵132.4cm，横35.2cm",[124,45],{"id":3861,"slug":3862,"title":3863,"dynasty":133,"author":636,"museum":149,"description":3864,"tags":3865,"thumbUrl":3866,"material":3867,"size":3868,"collection":124,"collections":3869,"showCount":82,"zanCount":11,"manualWeight":48,"mainColor":1138},220785,"cao-ting-shi-yi-tu-juan-wu-zhen-220785","草亭诗意图卷","诗塘董其昌题：“梅花道人画巨轴绝少，此幅气韻生动，布置古雅，大类巨然，非王蒙所能梦见也。董其昌藏并鉴定”。",[23,24,26,114,25,118,120,153,30,116,7,1665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eae55d370e8592275f4c843d79308fa.jpg","纸本水墨","纵23.8厘米，横277.8厘米",[124,103],{"id":3871,"slug":3872,"title":3873,"dynasty":223,"author":1431,"museum":423,"description":3874,"tags":3875,"thumbUrl":3877,"material":114,"size":3878,"collection":124,"collections":3879,"showCount":82,"zanCount":48,"manualWeight":48,"mainColor":49},220421,"qun-feng-shi-tan-tu-gong-xian-220421","群峰石潭图","《群峰石潭图》，立轴 绫本 水墨 48X171厘米，是保利5周年春拍藏。此作是龚贤画于1686年的一件“黑龚”精品，龚贤时年68岁，其“黑龚”已超出传统山水画的笔墨形式和意境藩篱。",[23,24,25,202,114,118,30,3876,117,7,35,37,64],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9487e8a4d8fa6b005da87bf28588f31.jpg","横：48厘米 纵：171厘米",[124,103],{"id":3881,"slug":3882,"title":3883,"dynasty":54,"author":955,"museum":56,"description":3884,"tags":3885,"thumbUrl":3886,"material":360,"size":3887,"collection":124,"collections":3888,"showCount":82,"zanCount":928,"manualWeight":48,"mainColor":128},220347,"fang-mi-fei-shan-shui-tu-tu-juan-dong-qi-chang-220347","仿米芾山水图-图卷","此帧《仿米家云山图》是难得一见的较大尺幅的山水作品，堪称是启功山水画的代表作之一。",[24,25,26,114,118,60,30,63,64,116,7,500,2808,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b251912199235f04fa6b092ccdf07c0.jpg","25.9 x 219.1厘米",[124],{"id":3890,"slug":3891,"title":3892,"dynasty":620,"author":2232,"museum":167,"description":3893,"tags":3894,"thumbUrl":3895,"material":555,"size":3896,"collection":124,"collections":3897,"showCount":82,"zanCount":11,"manualWeight":48,"mainColor":49},220142,"nang-qin-huai-he-tu-ju-ran-220142","囊琴怀鹤图","中国五代南唐、北宋画家，僧人。原姓名不详，生卒年不详，早年在江宁开元寺出家，南唐降宋后，随后主李煜来到开封，居开宝寺。擅山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[23,24,25,202,114,118,30,7,117,502,116,206,289,345,3601,1705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","169.1x101",[124],{"id":3899,"slug":3900,"title":3901,"dynasty":54,"author":955,"museum":20,"description":3902,"tags":3903,"thumbUrl":3904,"material":1302,"size":3905,"collection":124,"collections":3906,"showCount":3907,"zanCount":48,"manualWeight":48,"mainColor":128},234054,"shan-shui-ce-dong-qi-chang-234054","山水册","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[24,114,118,385,30,117,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f794274dd866033cbee27bee1c45115.jpg","纵26.3厘米，横25.5厘米",[124],131,{"id":3909,"slug":3910,"title":3911,"dynasty":620,"author":827,"museum":167,"description":3912,"tags":3913,"thumbUrl":3914,"material":140,"size":179,"collection":179,"collections":3915,"showCount":3907,"zanCount":928,"manualWeight":48,"mainColor":49},226543,"liang-kuang-lu-tu-zhou-jing-hao-226543","梁匡庐图轴","五代的隐逸画家荆浩是水墨山水画演变的关键人物，他将唐代吴道子的笔描与项容的泼墨技法结合，扩展笔墨描写山水的能力。荆浩的画风后来由关仝、李成和范宽继承，演变成永恒不朽的巨碑式山水。《匡庐图》是一幅仿古作品，保留五代山水的特征，但是结合了北宋宫廷画院的风格，再现与隐逸主题相关的山水形象，向荆浩这位雄伟风格山水之父致敬。",[152,24,25,202,114,118,30,243,204,7,206,244,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a19f97daa491bb204eb9d64ccb256d.jpg",[],{"id":3917,"slug":3918,"title":3919,"dynasty":223,"author":2792,"museum":658,"description":3920,"tags":3921,"thumbUrl":3922,"material":230,"size":3923,"collection":124,"collections":3924,"showCount":3907,"zanCount":48,"manualWeight":48,"mainColor":49},222812,"fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812","仿古四季山水图-仿夏禹玉渔庄","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,24,958,118,28,30,7,243,32,1363,35,579,413,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","82cm × 51 cm",[124,45],{"id":3926,"slug":3927,"title":3928,"dynasty":223,"author":3550,"museum":167,"description":3929,"tags":3930,"thumbUrl":3931,"material":1218,"size":3932,"collection":124,"collections":3933,"showCount":3907,"zanCount":928,"manualWeight":48,"mainColor":128},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[23,24,26,114,28,118,30,204,761,116,63,64,500,37,7,117,119,153,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[124,45],{"id":3935,"slug":3936,"title":599,"dynasty":223,"author":3937,"museum":1110,"description":3938,"tags":3939,"thumbUrl":3940,"material":303,"size":179,"collection":124,"collections":3941,"showCount":3907,"zanCount":48,"manualWeight":48,"mainColor":128},219900,"shan-shui-tu-hong-ren-219900","弘仁","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[23,24,25,202,114,118,30,116,540,117,1705,7,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643c9cf138484b785236419257db6754.jpg",[124],{"id":3943,"slug":3944,"title":3945,"dynasty":54,"author":55,"museum":382,"description":3946,"tags":3947,"thumbUrl":3949,"material":78,"size":3950,"collection":44,"collections":3951,"showCount":3907,"zanCount":928,"manualWeight":48,"mainColor":49},219528,"yu-yin-tu-chou-ying-219528","渔隐图","画作以沉郁古绢为底，青绿晕染烟峦，远景山影空濛朦胧，墨色揉合石青，消弭了峰岩棱角，只剩淡宕的山野烟岚。近岸古木虬枝偃蹇，攒簇的枝叶以青绿点染，带着苍润生机。浅滩石矶错落，一脉细流澹澹而过，茅舍静立渚边，素墙茅顶融在水木之间，不见渔者身影，却满是幽寂萧散的渔居意趣。\n全画笔简意足，将寄情丘壑、归卧林泉的隐逸之思，藏进这烟峦水木之中，古旧绢色衬得青绿愈见沉静，尽显山野幽居的澹泊自在。",[23,24,25,152,29,28,27,30,7,3948,64,289,639,202],"渔舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977cfda0f3539f45458255d68c97e3b4.jpg","纵137.5横67.8厘米",[44,45],{"id":3953,"slug":3954,"title":3955,"dynasty":620,"author":3956,"museum":459,"description":3957,"tags":3958,"thumbUrl":3959,"material":808,"size":809,"collection":179,"collections":3960,"showCount":3961,"zanCount":48,"manualWeight":48,"mainColor":49},288521,"gao-shi-tu-wei-xian-288521","高士图","卫贤","该画作是五代画家卫贤的代表作品，此图原著收录于《宣和画谱》中，名为“梁伯鸾图一”，为卫贤所作《高士图》组画之一, 原图共六幅，画有黔娄先生、楚狂接舆、老莱子、王仲孺、于陵子和梁伯鸾，但前五幅已佚失，仅剩下描绘梁鸿与孟光的这幅。该画作集山水、人物、建筑画为一体，手法准确精细。",[23,152,24,25,202,59,114,61,30,62,244,7,2043],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f627c639ff7d85295cabc0114452119.jpg",[],130,{"id":3963,"slug":3964,"title":3965,"dynasty":223,"author":325,"museum":167,"description":3966,"tags":3967,"thumbUrl":3969,"material":415,"size":3970,"collection":124,"collections":3971,"showCount":3961,"zanCount":48,"manualWeight":48,"mainColor":49},222758,"shi-er-yue-ling-tu-10-yue-lang-shi-ning-222758","十二月令图（10月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,29,28,30,62,64,117,7,504,61,70,3968,691],"行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ed4b72d321f7343f422af6480b67f2.jpg","188.2*102.2cm",[124,45],{"id":3973,"slug":3974,"title":3975,"dynasty":18,"author":713,"museum":167,"description":3976,"tags":3977,"thumbUrl":3978,"material":28,"size":3979,"collection":42,"collections":3980,"showCount":3961,"zanCount":48,"manualWeight":48,"mainColor":49},221554,"xi-yuan-ya-ji-juan-liu-song-nian-221554","西园雅集卷","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。",[23,152,24,25,26,29,28,61,7,117,269,2938,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00b965e299d9c4feb3a56ffa3172034.jpg","34×191cm",[42,44,45],{"id":3982,"slug":3983,"title":3984,"dynasty":18,"author":3371,"museum":658,"description":3985,"tags":3986,"thumbUrl":3988,"material":415,"size":3989,"collection":42,"collections":3990,"showCount":3961,"zanCount":666,"manualWeight":48,"mainColor":49},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,152,24,25,26,28,29,118,30,528,63,66,61,32,3987,73,71,7],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[42,124,45],{"id":3992,"slug":3993,"title":3994,"dynasty":54,"author":537,"museum":167,"description":3995,"tags":3996,"thumbUrl":3997,"material":303,"size":3998,"collection":103,"collections":3999,"showCount":3961,"zanCount":48,"manualWeight":48,"mainColor":128},219519,"qin-he-tu-wen-zheng-ming-219519","琴鹤图","水墨晕染出淡远山居，苍松茂林环合小院。堂前二人对坐，似正横琴晤谈，院外童子携鹤缓步而来，将林泉雅趣揉进日常闲情里。\n\n笔致秀润温婉，枝叶晕染细腻，远山轻笼烟岚，留白里漾着闲澹松弛的意趣。题诗朱印与画面相融，把文人幽居自适、琴鹤相伴的林下风流，藏进每一缕墨色之中，淡而不寡，静中藏雅，尽显江南文人心底的归栖之乐。",[24,25,28,29,119,120,153,61,7,117,1620,1840,1705,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b62691d86abcd60a7be2a267ff0873.jpg","63.4x29.2",[103],{"id":4001,"slug":4002,"title":3724,"dynasty":223,"author":381,"museum":459,"description":4003,"tags":4004,"thumbUrl":4005,"material":179,"size":179,"collection":124,"collections":4006,"showCount":4007,"zanCount":928,"manualWeight":48,"mainColor":128},235878,"yuan-ji-shan-shui-tu-ce-shi-tao-235878","这一开诗画合璧，行书题诗笔力苍劲清隽，墨色朗润，将山居幽寂的诗意先行铺展。画面以淡墨晕染烟岚，山峦在雨意濛濛间晕化开朦胧轮廓，留白衬出空濛水汽。几椽山居隐在深林浅坳间，伴着茂树流泉，朴拙静雅。\n\n石涛以灵动写意的笔墨，把诗中霁后溪山的萧散意境全然绘出，简淡笔墨裹着秀润的江南意趣，诗画相映，恍若能听见古寺钟鸣随云霭漫过山峦，将文人画诗禅合一的意韵抒发尽致，带人踏入这世外幽居。",[24,25,385,114,28,118,119,153,30,7,35,117,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ca5c119bb37305c4db3d52e47af545.jpg",[124],129,{"id":4009,"slug":4010,"title":4011,"dynasty":18,"author":575,"museum":167,"description":4012,"tags":4013,"thumbUrl":4016,"material":415,"size":4017,"collection":42,"collections":4018,"showCount":4007,"zanCount":928,"manualWeight":48,"mainColor":128},221520,"shan-jing-chun-xing-tu-ma-yuan-221520","山径春行图","《山径春行图》描绘了一个怡然自得的文人，一手捋着胡须，一手移动衣袖，慢步进行在春天的山径上，面向远方。似乎在触景生情吟咏赞美春天的诗句。随风飘动的柳枝，雀跃嬉戏的小鸟，生机勃发的山径两旁的桃花，既是在描写春天的自然景色，也是在借景抒发文人此时此刻内心充满诗意的喜悦之情。鸟语花香春意盎然而又显得闲适恬静的画面气氛，是文人内在修养和心理活动的生动写照，是对春天来临所唤起的生命之美的赞叹。",[23,152,24,475,114,28,1643,4014,118,30,61,528,156,502,1654,7,206,500,1238,274,4015],"兼工带写","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca18e870932ac305bd5552c91834635.jpg","纵27.4厘米，横43.1厘米",[42,124,44,103],{"id":4020,"slug":4021,"title":4022,"dynasty":620,"author":2876,"museum":167,"description":4023,"tags":4024,"thumbUrl":40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源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。\n\n绘画:\n龚贤是位既注重传统笔墨又注重师法造化的山水画家。其创作以五代董源、巨然的画法为基础，以宋初北方画派的笔墨为主体，参以二米（米芾、米友仁父子）、吴镇及沈周等人的笔风墨韵，同时结合自己对自然山水的观察和感受，形成了浑朴中见秀逸的积墨法，不同于清初以王时敏为首的“四王”所倡导的笔笔有古意的创作格法。作品多写金陵山水，长于用墨。\n龚贤喜用老辣朴拙的笔触，沉着稳重，秃笔与尖笔兼用。秃笔，取之圆润苍劲，勾屋，皴擦，画树和点苔苍老有力。龚贤用笔在主张“欲秀而老”，秀而老就是准确、简练而流畅有变化。画家程正揆在赠龚贤的诗中道：“铁干银钩老笔翻，力能从简意能繁”，这很好地点出了龚贤在用笔上的特点和成就。他提出笔法、墨气、丘壑、气韵作为画家四要，主张作画要中锋用笔，并且要古、健、老、苍，才能避免刻、结、板之病，颇为精辟。龚贤用墨，以层层积墨见长，虽不用泼墨，实具有泼墨烟润淋漓的效果，颇有宋人的用墨特点。其画山石树木中锋用笔，苍劲古厚，并用积墨法作反复皴擦积染，多至十几层，墨色极为浓重，但仍有深浅、浓淡、明暗等细微变化，山石树木往往浑融一体，仅在阳面或轮廓边缘处留出些许高光和坚实的轮廓，效果强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。龚贤作画最善用墨，主张墨气要厚、润，他发展了积墨画法，龚贤精研此法是追求一种苍润的境界，他以干笔作墨骨，再以层层皴染包润之，令山林树木呈现出鲜润沉厚的墨韵，使画面湿润厚重之感，这种画法适于表现江南湿意浓重的山水景色，同时也使龚贤的绘画具有了一种深郁静穆的格调。龚贤的画法分两类，世称“墨龚”和“白龚”。他善用黑白对比的技法，前者浓密苍茫，后者简淡雅洁。他在《半千课徒画说》中称：“非黑，无以显其白；非白，无以利其黑。”又如《平远小景》图（册页，纸本水墨）中所画的房屋，简洁明丽，在周围笔墨的映衬下，洁白的屋墙似乎透出光亮。此处即用黑白对比的技法。\n龚贤的山水画非常重视构图。他的画视野开阔，气象万千。他的“三远”构图原则，发挥得淋漓尽致，出神入化。他往往提高视线的角度，“平远”构图，多采取俯视角度，这样，视野开阔，平淡中倍增飘渺的感觉。尺幅之中，山河无尽。作“高远”构图，也是如此，先俯视，尔后眼光往上作仰视，真有下揽深谷、上突危峰的气概。他十分注重上下的位置。他的山水画一般很“满”，但“满”而不塞，常常用云带、流水作为空白透气。从整个画面来说，很有气韵。这才是龚贤的笔、墨、丘壑浑然一体的韵，从而创造出有地方特色的山水画。他是当之无愧的“金陵画派”的首领。\n龚贤之子龚柱，字础安，山水面目极似其父，只是烘染略少而已。\n\n诗作:\n龚贤是先以诗歌闻名于世的。客居海安、扬州时期，龚贤创作了大量诗歌，居扬州期间，在六年内作诗二百多首，是他一生中写诗最多的时期，传于后世的《草香堂集》共收诗203首，其中题画诗仅8首。可见那时期他作画不多，诗却写了不少。《草香堂集》中的诗大部分反映了他在海安、扬州时的生活经历和思想状况。他的诗很有特色，其好友方文在《喜龚半千还金陵》诗中赞他“更妙是诗篇，浑朴复雄放”；龚贤自己曾在《生日作》中谦逊地说：“余生皆酒力，不幸以诗名。”郭沫若曾评龚诗曰：“半千的诗虽然不多，大率精炼，颇有晚唐人风味。”在扬州，喜爱晚唐诗的龚贤还着手进行中晚唐诗歌的汇集整理工作，这一艰巨工作持续了数十年，被好友周亮工赞为“中晚唐之功臣也”。\n龚贤之诗作，一经开篇，则清逸之气沁人心脾，极显清疏淡雅之姿，如云流水池，一气呵成。其律绝句中鲜见用典，惟其《赠罗使君》一篇七古二十四韵中竟用了三十二个典故。窥一斑而知全豹，诗人腹笥藏书之富，非同一般。通常避而不用者，意在畅情而已。虽其谴词造句似属平易，然再经咀嚼，则有一种清新爽口之感。关键在于诗人抓住了现实生活中最富有诗意的景象和最触动自己心灵的情节，以简洁的艺术语言淋漓酣畅地表达无遗。这既是诗，亦是文，流畅似水，通俗如话，无诘屈聱牙之句，无冷僻难解之点。这表明诗人极具质朴的创作精神，从不故作哗众取宠惊人之笔，这又恰恰与他的绘画的艺术追求殊途同归。\n龚贤懂诗、爱诗、惜诗。他曾花费数十年的时间，以极大的毅力进行中晚唐诗的搜集、选编工作。为此，他曾“大索天下”，觅得百余家“多人未见本”（即未曾被收编入书的）主要靠自己出资刻印了七十四家。",[23,24,114,118,202,30,117,7,1289,207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805b3fa5f0a2b4668436631477516806.jpg","纵110厘米，横50厘米",[124,103],{"id":4185,"slug":4186,"title":4187,"dynasty":18,"author":1792,"museum":20,"description":4188,"tags":4189,"thumbUrl":4192,"material":40,"size":4193,"collection":179,"collections":4194,"showCount":4175,"zanCount":928,"manualWeight":48,"mainColor":128},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,25,26,114,28,118,29,30,3484,4190,117,7,64,115,462,4191,63,156,37,119,120,153],"小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],{"id":4196,"slug":4197,"title":4198,"dynasty":223,"author":4199,"museum":20,"description":4200,"tags":4201,"thumbUrl":4202,"material":78,"size":4203,"collection":44,"collections":4204,"showCount":4175,"zanCount":467,"manualWeight":48,"mainColor":49},215859,"chong-qing-huang-tai-hou-wan-shou-qing-dian-tu-zhang-ting-yan-215859","崇庆皇太后万寿庆典图","张廷彦","弘历皇帝的生母崇庆皇后的60岁生日，举行了盛大的庆祝活动。文武百官齐聚北京，从西华门到西直门的高梁桥下，十几里路的灯光，戏曲、杂技、舞蹈等各类文艺节目，让人目不暇接。这幅四卷画真实地再现了当时的生日庆典和戏剧表演的场景，是清代戏曲的重要图像资料。",[23,152,24,25,26,29,28,61,62,1459,1145,1420,2571,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb231085edcd0f7668e9adde95214bce.jpg","64.5x2994",[44],{"id":4206,"slug":4207,"title":4208,"dynasty":54,"author":2835,"museum":167,"description":4209,"tags":4210,"thumbUrl":4211,"material":303,"size":4212,"collection":124,"collections":4213,"showCount":4175,"zanCount":928,"manualWeight":48,"mainColor":49},214822,"feng-cheng-jian-yong-tu-wang-fu-214822","凤城饯咏图","这幅画的构图很简单，特写的是一条平缓的海岸线，三个官员聚集在树木和石头间的亭子里举行宴席，背景是两座高山。画的上边有十三首诗，都是关于表达离别之情的，大部分是与王绂一起在翰林院任职的官员。这些诗表明，王绂在秋天画了这幅半具象的山水画，当时他的一位同事即将回到松江的故乡，在乡间的陪伴下享受隐居的生活，他的每位同事都写了一首诗来纪念这一时刻。绘画的主体，或参与题词的人，都是有文学修养的文人，王绂的画表明了元代以来的文人画风，用简单的水墨画来表达绘画背后的深意。光滑的石堆，蜿蜒曲折、相互连接的纹理，给人一种宁静的感觉，并带有一丝惆怅和感伤。",[24,25,114,30,118,119,153,116,115,7,244,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1567e357c9e61193092a8b8f23f2efaf.jpg","91.4x31",[124],{"id":4215,"slug":4216,"title":4217,"dynasty":18,"author":2179,"museum":167,"description":4218,"tags":4219,"thumbUrl":4222,"material":140,"size":4223,"collection":42,"collections":4224,"showCount":4225,"zanCount":48,"manualWeight":48,"mainColor":49},221413,"song-quan-pan-shi-zhou-li-cheng-221413","松泉磐石轴","本幅之题材与风格，属松石格之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。 松石格是兴起于八世纪的绘画，或画松石、树石，含松柏及其他树木。它是山水画范围的一部分。\n飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身扭曲，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，最后用小弹弓弹墨花于其上，如宋人弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。",[24,25,202,114,118,30,540,4220,4221,63,64,117,7],"泉水","磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab46279c4e10e9f75620f23fefae0de6.jpg","160.3x96.8cm",[42,124,103],123,{"id":4227,"slug":4228,"title":4229,"dynasty":54,"author":4230,"museum":2458,"description":4231,"tags":4232,"thumbUrl":4233,"material":1842,"size":4234,"collection":179,"collections":4235,"showCount":4225,"zanCount":48,"manualWeight":48,"mainColor":179},220728,"fang-ma-yuan-ta-ge-tu-dai-jin-220728","仿马远踏歌图","戴进","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。\n戴进作为明代著名的画家，绘画临摹精博，得唐宋诸家之妙，道释、神像、人物、山水、花果、翎毛、走兽等，无所不工。\n他的山水画画作品，注重选题。画法源出宋元，继承南宋水墨苍劲一派，主要吸收南宋时期的马远、夏圭（夏圭）风格，但也吸取北宋时期的李成和范宽，并取法郭熙、李唐、董源，用笔劲挺方硬，水墨淋漓酣畅，技巧纵横，画风雄健挺拔，俱遒劲苍润，一变南宋浑厚沉郁的风格，发展了马远、夏圭传统，善于用浓淡水墨的巧妙变化，来表现“铺叙远近，宏深雅淡”的品格，既有南宋院体遗风，又有元人水墨画意，被推为“浙派山水首席画师”",[23,24,25,152,30,118,28,117,7,37,61,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3256df255a4ff5cd730b5277dbb9e7.jpg","装裱：270.5×122.3厘米画心：182.4×107.4厘米",[],{"id":4237,"slug":4238,"title":4239,"dynasty":1743,"author":3262,"museum":423,"description":4240,"tags":4241,"thumbUrl":4244,"material":122,"size":4245,"collection":124,"collections":4246,"showCount":4225,"zanCount":48,"manualWeight":48,"mainColor":128},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,152,24,25,114,28,228,118,30,64,115,63,204,7,117,37,35,426,4242,4243],"急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[124,45],{"id":4248,"slug":4249,"title":4250,"dynasty":18,"author":3479,"museum":459,"description":4251,"tags":4252,"thumbUrl":4255,"material":303,"size":4256,"collection":179,"collections":4257,"showCount":4225,"zanCount":928,"manualWeight":48,"mainColor":128},220254,"xiao-xiang-ba-jing-tu-jiang-tian-mu-xue-mu-xi-220254","潇湘八景图·江天暮雪","此图淡墨轻岚，诗意优扬。其“江天暮雪”辽阔的水域占了书面的二分之一左右，近景的坡石和远方的山影仿佛都被广袤白雪所覆盖，画面正偏左有几株树叶凋落的乔木，树丛间隐约可见屋宇，顺着树枝垂下的方向看，一个渔翁正瑟缩着坐在船首。画面不以留白取胜，而将渔翁置于千山万径之间，以天地之山巅，冰雪之苍凉，衬托渔翁之微小。",[23,152,24,25,4253,114,228,4254,475,341,342,7,747,37,3432,1191],"宋画","禅画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34dc75ca426d42b380e45a89f2a94.jpg","29.5X94.4厘米",[],{"id":4259,"slug":4260,"title":4261,"dynasty":223,"author":472,"museum":368,"description":2506,"tags":4262,"thumbUrl":4263,"material":122,"size":2510,"collection":124,"collections":4264,"showCount":4225,"zanCount":48,"manualWeight":48,"mainColor":128},219996,"shan-shui-hua-mu-chun-wang-ri-xiao-qi-ou-zuo-wang-shi-min-219996","山水画-暮春望日小憩偶作",[24,152,30,114,118,341,540,7,35,244,37,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec524ddf8e33ee5c0b0f3dafea580e.jpg",[124],{"id":4266,"slug":4267,"title":4268,"dynasty":54,"author":4269,"museum":56,"description":4270,"tags":4271,"thumbUrl":4273,"material":78,"size":179,"collection":44,"collections":4274,"showCount":4225,"zanCount":392,"manualWeight":48,"mainColor":128},219451,"xing-yuan-ya-ji-tu-xie-huan-219451","杏园雅集图","谢环","描绘了明正统二年（1437年）三月初一，时值阁臣们的沐休假期，杨士奇、杨荣、王直、杨溥、王英、钱习礼、周述、李时勉、陈循9位朝中大臣以及画家谢环雅集于杨荣在京师城东的府邸——杏园聚会之情景。其中，杨士奇、杨荣、杨溥时人合称“三杨”，三人均历事永乐、洪熙、宣德、正统四朝，先后位至台阁重臣，正统时以大学士辅政，权倾一时。“三杨”还是当时“台阁体”诗文的代表人物。时人称杨士奇有学行，杨荣有才识，杨溥有雅操。又以居第所处，称杨士奇为西杨，杨荣为东杨，杨溥为南杨。按照当时《翰林记》的记载，当时谢环作画，与会者人手一画，也就是说至少有九幅（画家不算）《杏园雅集图》存世（现存世两幅）。",[23,24,25,26,28,29,120,3586,153,119,61,7,116,689,806,4272,736,2725],"笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff366cd140ea847bfbf260d622bdcd92a.jpg",[44,1822],{"id":4276,"slug":4277,"title":4278,"dynasty":620,"author":2655,"museum":167,"description":4279,"tags":4280,"thumbUrl":4281,"material":78,"size":4282,"collection":124,"collections":4283,"showCount":4225,"zanCount":11,"manualWeight":48,"mainColor":49},218927,"dai-du-tu-guan-tong-218927","待渡图","这幅画描绘了一个高高士在野外穿越时等待船只的情景，笔触和墨迹高度变化，并有一个边缘的场景。",[23,24,25,30,118,114,117,7,32,71,3987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0234b4c0ad967411b9cb6bfbe40aadfa.jpg","21.9x24",[124],{"id":4285,"slug":4286,"title":4287,"dynasty":223,"author":2792,"museum":382,"description":4288,"tags":4289,"thumbUrl":4290,"material":122,"size":4291,"collection":124,"collections":4292,"showCount":4225,"zanCount":48,"manualWeight":48,"mainColor":128},217217,"fang-gu-shan-shui-shi-er-kai-wang-hui-217217","仿古山水十二开","此册王翚仿古十二开",[24,25,385,114,118,958,30,7,117,64,500,358,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d8cb08718af9c20fbb39bcf2df2b19.jpg","25x35.4cm",[124],{"id":4294,"slug":4295,"title":4296,"dynasty":18,"author":4297,"museum":459,"description":4298,"tags":4299,"thumbUrl":4300,"material":179,"size":179,"collection":179,"collections":4301,"showCount":4302,"zanCount":48,"manualWeight":48,"mainColor":49},227688,"shi-yi-long-tu-chen-rong-227688","十一龙图","陈容","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。",[23,152,24,25,26,114,118,1124,30,37,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd37fa557531a1ee46077055962506d.jpg",[],122,{"id":4304,"slug":4305,"title":4306,"dynasty":223,"author":4307,"museum":459,"description":4308,"tags":4309,"thumbUrl":4319,"material":808,"size":809,"collection":179,"collections":4320,"showCount":4302,"zanCount":48,"manualWeight":48,"mainColor":49},224114,"yuan-xiao-xing-le-tu-zhou-qian-long-224114","元宵行乐图轴","乾隆","此图描绘的是清代乾隆皇帝与皇族子弟们在宫苑内庆贺元宵节的情景。元宵节，又称为“上元节”、“小正月”、“元夕”或“灯节”，是岁朝之后的第一个重要节日。按照中国民间的传统，在这天皓月高悬的夜晚，人们除吃意寓团圆美满的元宵外，还要点起彩灯万盏，燃放焰火和猜灯谜。图中乾隆皇帝坐在楼阁上，正安详地目视着皇族子弟们庆贺元宵节。\n此图没有落作者的名款，从技法上分析，图中人物的画像应是由擅长写实画的郎世宁绘制。他在西洋肖像画的基础上，巧妙地吸取了传统中国“写真”画技法，生动地表现出不同人物的体态和神情。图中的屋宇、树石背景是由中国画家补绘，画家们以传统的中国山水画、界画技法，精心勾描、点染，不仅渲染出元宵节喜庆祥和的热烈气氛，同时展示出乾隆皇帝与家人间浓浓的亲情。",[24,202,28,4310,59,29,4311,62,4312,117,7,4313,4314,4315,4316,4317,4318],"人物画","写实","宫苑","元宵节","彩灯","焰火","喜庆","祥和","亲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e37e5be34ab9d1fa4c454a4cece0f98.jpg",[],{"id":4322,"slug":4323,"title":4324,"dynasty":133,"author":355,"museum":167,"description":4325,"tags":4326,"thumbUrl":4328,"material":122,"size":4329,"collection":124,"collections":4330,"showCount":4302,"zanCount":928,"manualWeight":48,"mainColor":49},220812,"shen-lin-die-zhang-zhou-wang-meng-220812","深林叠嶂轴","本幅在《御制诗二集》题名作王蒙〈山水〉。为乾隆皇帝第一次南巡回程时于淮安一带所题。画上有王蒙（1308 —1385）名款，山石亦以蜷曲「牛毛皴」与黝黑苔点交错，组合出「王蒙式」云雾升腾般的动感山势，然此作效果较趋平面性，疑为明代画家追仿其风格的佳作。乾隆皇帝将深林叠嶂中的水榭、人物，比附为长寿仙人偓佺与王子乔修链的隐居处，或许他联想到的是南巡中短暂相见的沈德潜等老臣，期盼他们致仕乡居期间得保长寿康健。",[23,24,25,202,114,30,118,4327,2420,63,64,7,117,61,35],"深林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","68.7x42.5",[124,103],{"id":4332,"slug":4333,"title":4334,"dynasty":223,"author":4335,"museum":225,"description":4336,"tags":4337,"thumbUrl":4338,"material":28,"size":4339,"collection":124,"collections":4340,"showCount":4302,"zanCount":928,"manualWeight":48,"mainColor":4341},214176,"xie-qin-you-ju-tu-tu-xiang-zeng-qiang-cha-shi-biao-214176","携琴幽居图(图像增强)","查士标","查士标（1691年-1765年），字叔标，号槃湖，清代著名山水画家。他是清代著名的四王之一，与石涛、郎世宁、唐伯虎合称“四王”。查士标擅长山水画，尤其以山水风景和人物画闻名。",[24,28,118,26,30,116,63,64,7,117,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6e5f238a3606b6d1cab864e69f3c2f.jpg","135.8*25.5",[124],"aaa79f",{"id":4343,"slug":4344,"title":4345,"dynasty":620,"author":434,"museum":167,"description":4346,"tags":4347,"thumbUrl":4348,"material":177,"size":4349,"collection":179,"collections":4350,"showCount":4351,"zanCount":928,"manualWeight":48,"mainColor":49},223336,"dan-feng-you-lu-tu-yi-ming-223336","丹枫呦鹿图","《丹枫呦鹿图》描绘的是群鹿游憩于色彩斑斓的秋林中的情景，造型生动真实，颇具情趣。其构图繁密饱满，形式美感强烈，装饰味浓。\n《丹枫呦鹿图》中，作者使用传统的皴法、勾勒之法较少，却大幅度使用了类似西方的光影之法来表现鹿的立体感，且敷色富丽鲜艳又有别干常见的没骨山水。实异于汉族文化地区之画作，属辽画之精品。",[23,24,25,152,202,28,29,1806,3095,1855,7,968],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a0c1c1455178893acd65ad00afdad0.jpg","纵118.5cm，横64.6cm",[],121,{"id":4353,"slug":4354,"title":4355,"dynasty":223,"author":4356,"museum":459,"description":4357,"tags":4358,"thumbUrl":4359,"material":1218,"size":4360,"collection":331,"collections":4361,"showCount":4351,"zanCount":631,"manualWeight":48,"mainColor":128},223158,"qun-xian-zhu-shou-tu-fu-dao-ren-xiong-223158","群仙祝寿图佛道","任熊","此幅图画场面宏大，共绘神仙达22位之多，八仙中的七仙，寒山、拾得等包括佛教、道教及民间信仰的各路神仙。",[23,24,152,25,26,923,29,28,61,62,30,7,1855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea49554b72b9cdd2c017d8d51d64b0c0.jpg","86X170cm",[331],{"id":4363,"slug":4364,"title":4365,"dynasty":54,"author":110,"museum":20,"description":4366,"tags":4367,"thumbUrl":4368,"material":936,"size":4369,"collection":124,"collections":4370,"showCount":4351,"zanCount":928,"manualWeight":48,"mainColor":128},222128,"xi-shan-yu-guan-tu-juan-shen-zhou-222128","西山雨观图卷","画心无款识，钤“沈”（朱方）、“石田”（朱方）、“启南”（朱方）印。引首文徵明书“西山雨观”隶书四字。后有陈沂、顾璘、文徵明、汤珍、蔡羽、徐充、文彭、盛时泰、文嘉九家题跋。鉴藏印钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“子孙永保其用”、“修竹馆”、“石渠宝笈”、“石渠宝鉴”、“宝笈重编”、“乐寿堂鉴藏宝”、“宁寿宫续人后渠宝笈”、“嘉庆御览之宝”、“无逸斋精鉴玺”、“宣统鉴赏”、“盛仲交”、“商丘宋犖审定真迹”等。\n画面描绘苏州西山烟云变化、雨霁烟消的景色。沈周仿南宋书画家米友仁的笔法，描绘峰峦连绵起伏，山间云雾出没，林木层叠，村庄、湖泊、小桥被笼罩在烟霭之中。山石和草木均用水墨点成，浑然一体，不见线条及皴擦的痕迹，显示出画家高超的绘画水平和独到的审美韵味。卷后题跋者都是苏州地区的文人墨客，他们常互邀相聚，饮酒赋诗，切磋画艺，探究学问，他们在诗跋中表达了对《西山雨观图》的赞美，可见该图在明代中后期文人中产生了颇为重要的艺术影响和审美共鸣。",[23,24,25,26,114,30,118,119,153,37,7,500,674,1375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纵25.2厘米，横105.8厘米",[124,103],{"id":4372,"slug":4373,"title":4374,"dynasty":223,"author":472,"museum":368,"description":2506,"tags":4375,"thumbUrl":4376,"material":122,"size":2510,"collection":124,"collections":4377,"showCount":4351,"zanCount":928,"manualWeight":48,"mainColor":128},220005,"shan-shui-hua-fang-mei-dao-ren-wang-shi-min-220005","山水画-仿梅道人",[23,24,114,30,60,118,7,64,116,117,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b0369175196e03b3707498e97829e3.jpg",[124],{"id":4379,"slug":4380,"title":4381,"dynasty":54,"author":3225,"museum":167,"description":4382,"tags":4383,"thumbUrl":4384,"material":78,"size":4385,"collection":124,"collections":4386,"showCount":4351,"zanCount":928,"manualWeight":48,"mainColor":49},214739,"han-jiang-cao-ge-tu-zhao-zuo-214739","寒江草阁图","画江坞村居，从楼里可以看到远处的风景。长桥上锁，云雾缭绕，山峦起伏。森林湿润，层次分明。与烟雾和雾气混合在一起，感觉就像晴天开始时的一场突如其来的雨。烟雾在河边不时地出现和消失。这幅山水画非常特别，先用淡墨裂开，然后用焦墨破开，这样就可以看出笔墨的光彩，墨色也很浓。",[24,25,202,114,118,30,116,7,63,64,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2932a52531fae657b3d89f6fb99b15.jpg","160x51.8",[124],{"id":4388,"slug":4389,"title":4390,"dynasty":54,"author":4230,"museum":167,"description":4391,"tags":4392,"thumbUrl":4394,"material":555,"size":4395,"collection":124,"collections":4396,"showCount":4351,"zanCount":631,"manualWeight":48,"mainColor":49},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","这幅画是笔墨兼工带写，奔放豪纵而苍劲淋漓。这幅画很好地运用了「水晕墨章」的技法，用大笔和淡墨快速而斜地扫过风和雨的自然景观，竹子、树木、芦苇和稻草的雨衣，都迎着风和雨弯下腰。　虽然戴进的画风与南宋宫廷画家的体系相同，但他在画中加入了新的内容，如这幅画，并确立了浙派山水画的基本风格，成为后世效仿的典范。",[24,25,202,152,114,118,3189,4393,115,462,63,64,7,243,37,73,2336,117],"归舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","143x81.8",[124],{"id":4398,"slug":4399,"title":4400,"dynasty":223,"author":381,"museum":459,"description":1590,"tags":4401,"thumbUrl":4402,"material":808,"size":809,"collection":179,"collections":4403,"showCount":4404,"zanCount":928,"manualWeight":48,"mainColor":128},290425,"shan-shui-ce-8-zhen-shi-tao-290425","山水册8帧",[24,385,30,114,28,118,243,37,7,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e43bd7167cf84e5eb97a9e84d36de0.jpg",[],120,{"id":4406,"slug":4407,"title":4408,"dynasty":54,"author":110,"museum":459,"description":4409,"tags":4410,"thumbUrl":4411,"material":179,"size":179,"collection":179,"collections":4412,"showCount":4404,"zanCount":666,"manualWeight":48,"mainColor":128},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[23,152,24,26,114,28,30,639,63,64,115,462,2796,7,119,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],{"id":4414,"slug":4415,"title":4416,"dynasty":133,"author":4417,"museum":20,"description":4418,"tags":4419,"thumbUrl":4421,"material":40,"size":4422,"collection":331,"collections":4423,"showCount":4404,"zanCount":928,"manualWeight":48,"mainColor":49},221839,"hua-zhu-jin-ji-tu-zhou-wang-yuan-221839","花竹锦鸡图轴","王渊","元代的花鸟画不及宋代昌盛，但却有新的面貌。一部分画家继承了北宋院画刻画严谨的传统并加以变化，发展了勾勒、点染相结合的写生技法，画风朴实拙茂又不失精微细密；另一部分画家则彻底摆脱院体工整妍巧的写生风格，以萧散简逸为宗，充分体现了赵孟頫以书法入画的艺术主张。但总体来看，元代花鸟画的气格是宁静、沉着和庄严的，既不变形又不放纵，体现了“法不逾矩”的特点。活跃于元代中后期的王渊是继承北宋院画的代表画家。",[23,133,24,25,202,29,28,171,4420,1067,289,156,1621,244,7],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466780a1e6d1a39bd28e7e52a2208b0.jpg","纵175.7cm，横110.1cm",[331,45],{"id":4425,"slug":4426,"title":4427,"dynasty":54,"author":110,"museum":111,"description":4428,"tags":4429,"thumbUrl":4432,"material":303,"size":4433,"collection":124,"collections":4434,"showCount":4404,"zanCount":928,"manualWeight":48,"mainColor":128},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[23,24,25,26,114,118,30,4430,4431,117,7,116,64,115,35,994,63],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[124],{"id":4436,"slug":4437,"title":4438,"dynasty":18,"author":3618,"museum":4439,"description":4440,"tags":4441,"thumbUrl":4442,"material":78,"size":4443,"collection":124,"collections":4444,"showCount":4404,"zanCount":11,"manualWeight":48,"mainColor":49},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","圣路易斯艺术博物馆","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,4253,152,24,25,26,30,114,118,28,62,63,64,117,7,61,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[124],{"id":4446,"slug":4447,"title":4448,"dynasty":54,"author":4131,"museum":4449,"description":4450,"tags":4451,"thumbUrl":4452,"material":122,"size":4453,"collection":124,"collections":4454,"showCount":4404,"zanCount":48,"manualWeight":48,"mainColor":128},218090,"fang-dong-yuan-shan-shui-tu-wen-jia-218090","仿董源山水图","金贝尔艺术博物馆","明朝是中国历史上的一个朝代，它的统治时间是从1368年到1644年。在这期间，文嘉是一位著名的画家，他的作品中有一幅仿董源山水图。\n\n董源是中国历史上著名的画家，他的作品中有一幅著名的山水图，这幅图被称为“董源山水图”。文嘉的作品中的这幅仿董源山水图是文嘉对董源山水图的模仿，他在这幅图中运用了董源的画风，但也加入了自己的风格。\n\n山水画是中国传统画的一种，它的主题是山水风景。山水画中常常会描绘大自然的景象，如山峰、河流、湖泊、树木、花草等。这幅仿董源山水图中也展示了美丽的山水风景，画面上的山峰、树木、河流都描绘得栩栩如生，充满了生机与活力。\n\n文嘉的这幅仿董源山水图不仅展示了文嘉对董源画风的尊敬，同时也展示了文嘉自己的画风。这幅图融合了传统山水画的特点，同时也具有文嘉自己的个性。",[23,24,25,202,114,118,60,30,63,64,117,7,204,3778,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf2830085ebd93c1fe744e5ba0196bd.jpg","167x52cm",[124],{"id":4456,"slug":4457,"title":4458,"dynasty":223,"author":647,"museum":1202,"description":4459,"tags":4460,"thumbUrl":4462,"material":303,"size":4463,"collection":124,"collections":4464,"showCount":4404,"zanCount":48,"manualWeight":48,"mainColor":128},217884,"xi-shan-lin-wu-tu-wang-yuan-qi-217884","溪山林屋图","溪山林屋图是王原祁的代表作之一，它们描绘了中国山林中的小屋、溪流、山峰和树木。这些画作通常都有一种平静而自然的感觉，体现了王原祁对中国传统山水画的热爱和自然美的追求。\n\n王原祁的溪山林屋图通常都是以水墨画的形式呈现的，他善于运用水墨画的特点，比如渗透、流动、清晰度等，使得他的画作充满了韵味和生命力。\n\n总的来说，王原祁的溪山林屋图是中国清朝时期画家中的佼佼者，它们不仅是艺术作品，而且也是中国文化遗产的重要组成部分。",[24,25,30,114,118,7,35,64,244,206,117,2421,1705,4461],"山间植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe06c7f8fd41eded98cf111e60e234.jpg","82.8x45.3cm",[124],{"id":4466,"slug":4467,"title":4468,"dynasty":223,"author":434,"museum":459,"description":4469,"tags":4470,"thumbUrl":4474,"material":808,"size":809,"collection":179,"collections":4475,"showCount":4476,"zanCount":48,"manualWeight":48,"mainColor":128},236741,"huang-ju-mao-die-wan-shan-yi-ming-236741","黄鞠猫蝶纨扇","这帧纨扇小品取右虚左实之构图，苔石隐于浅草花丛间，乌背白腹的狸奴踞坐其上，圆瞳灼灼，紧盯翩跹粉蝶，蓬松绒毛以晕染细笔勾绘，憨态灵动，将花猫窥蝶的凝神一瞬定格。\n\n左上花枝柔曼，粉花轻缀，没骨笔法晕染出淡冶花色，明丽雅致。侧旁题笔规整清雅，与画面相映成趣。\n\n整幅小品以清隽设色勾勒日常闲趣，将庭间小景的恬淡野趣尽数铺陈，温婉雅致的意趣浸透绢面，尽显小品画的悠然雅韵。",[24,25,152,2895,28,29,565,4471,4472,4473,328,7],"猫","蝴蝶","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6235c2fe94225bf65dcfca3543ed3c.jpg",[],119,{"id":4478,"slug":4479,"title":2722,"dynasty":223,"author":434,"museum":20,"description":2723,"tags":4480,"thumbUrl":4483,"material":40,"size":330,"collection":179,"collections":4484,"showCount":4476,"zanCount":48,"manualWeight":48,"mainColor":49},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170",[152,24,25,202,29,28,59,30,62,116,4481,64,4482,154,7,61,70,500,2808],"廊","湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg",[],{"id":4486,"slug":4487,"title":4488,"dynasty":223,"author":3937,"museum":20,"description":4489,"tags":4490,"thumbUrl":4491,"material":1218,"size":4492,"collection":179,"collections":4493,"showCount":4476,"zanCount":48,"manualWeight":48,"mainColor":128},232890,"xie-yi-shan-shui-tu-zhou-hong-ren-232890","写意山水图轴","据作者款题而知，此图是作者应“雄右”（王炜）之嘱托，为“旦先居士”（吕应昉）所绘。该图在设陈布势上取法倪瓒“一河两岸式”构图，中景画一片不着笔墨晕染的水域，水域的两岸分别绘起伏的山峦和空亭、秋木。整幅画面于简约疏旷的格调中表达出作者孤傲清高的情怀，堪称作者艺术成熟期的代表之作。",[23,24,114,202,228,118,25,30,31,7,63,64,204,116,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ebd02e1d7203160c9e5da77aedc77.jpg","纵133.1厘米，横62.7厘米",[],{"id":4495,"slug":4496,"title":4497,"dynasty":54,"author":110,"museum":459,"description":4498,"tags":4499,"thumbUrl":4500,"material":179,"size":179,"collection":179,"collections":4501,"showCount":4476,"zanCount":48,"manualWeight":48,"mainColor":128},228825,"dong-zhuang-tu-ce-shen-zhou-228825","东庄图册","《东庄图册》是212年出版的图书，作者是沈周。\n《范本传真·中国高等艺术院校教学范本:东庄图册》描绘其师吴宽家的庭园景色。\n吴宽官至礼部尚书，是沈周的老师和挚友，多有诗文唱和。\n东庄是吴宽的庄园，也是江南士大夫经常聚会、吟诗、品茗的地方。\n后人盛赞沈周的《东庄图册》，“观其出入宋元，如意自在，位置既奇绝，笔法复纵宕，虽李龙眠山庄图、鸿乙草堂图不多让也。\n” 这里所选的一幅是“北港”，图中画一荷塘，波光如镜，荷叶亭亭玉立，疏密有致，摇曳多姿，岸上树木点写自然，情态各具；坡岸皴染结合，浓重得宜。\n本书作者沈周（1427～159）明代杰出书画家。\n传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。",[24,114,28,385,118,30,7,117,64,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff908fba6b302417e7c10f3ab17a103ba.jpg",[],{"id":4503,"slug":4504,"title":4505,"dynasty":133,"author":355,"museum":111,"description":4506,"tags":4507,"thumbUrl":4508,"material":122,"size":4509,"collection":124,"collections":4510,"showCount":4476,"zanCount":48,"manualWeight":48,"mainColor":128},219742,"dan-shan-ying-hai-tu-wang-meng-219742","丹山瀛海图","此图描绘东海蓬瀛诸岛壮阔奇伟的景色。水面上洲岛参差涌列，岛上岗峦层叠重深，长松挺立，树木稠密。岛有木桥通向对岸，山隈深处楼屋掩映。海水浩淼无际，点点舟樯扬帆风行。笔墨师承董源，缜密的披麻皴屈曲律动，峰顶密赞苔点。树木交织使用各种夹叶、勾叶、点叶法，极得荣茂之意。是王蒙笔意繁缛灵活的别体之作。",[24,25,26,114,118,30,31,7,63,115,37,153,117,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73e4abea682397150fdd3d71415104f.jpg","纵28.5厘米 横80厘米",[124],{"id":4512,"slug":4513,"title":4514,"dynasty":18,"author":198,"museum":423,"description":4515,"tags":4516,"thumbUrl":4517,"material":78,"size":4518,"collection":124,"collections":4519,"showCount":4476,"zanCount":11,"manualWeight":48,"mainColor":49},218518,"shu-zhan-xing-lv-tu-fan-kuan-218518","蜀栈行旅图","这幅画被认为是范宽的作品，但事实上，这幅画的风格应该是李寅、颜峄的风格一派作品",[23,24,475,202,118,28,30,117,7,205,213,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29c07d65148db3c2cafe7e03228c14d.jpg","192.9x74.4cm",[124],{"id":4521,"slug":4522,"title":4523,"dynasty":223,"author":4524,"museum":167,"description":4525,"tags":4526,"thumbUrl":4527,"material":122,"size":4528,"collection":124,"collections":4529,"showCount":4476,"zanCount":11,"manualWeight":48,"mainColor":128},214728,"fang-huang-gong-wang-qiu-shan-tu-qian-wei-cheng-214728","仿黄公望秋山图","钱维城","这幅浅绛色的溪山图是清代对黄公望笔法的典型再创作。",[152,24,25,28,118,60,153,30,7,64,116,117,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48650c798602818f548f4a9796a6aefe.jpg","92.3x43.5",[124],{"id":4531,"slug":4532,"title":4533,"dynasty":18,"author":4534,"museum":111,"description":4535,"tags":4536,"thumbUrl":4538,"material":179,"size":179,"collection":42,"collections":4539,"showCount":4476,"zanCount":928,"manualWeight":48,"mainColor":4540},203436,"bai-miao-dao-jun-xiang-tu-juan-song-ren-203436","白描道君像图卷","宋人","以白描技法绘就的画面，道君居于核心，神光笼罩下仪态端凝。侍从仙官列队环侍，衣纹线条细劲流畅，尽显飘逸之姿；虎、龙等神兽悄然伏立，为场景注入神圣威严。背景楼阁依界画之法构建，飞檐翘角细节毕现；林木扶疏，亭桥掩映，景致层层铺展却井然有序。整卷线条刚柔相济，或如铁线勾勒轮廓，或似游丝描绘衣袂，将宗教的肃穆与自然的清幽完美融合，尽显南宋书画的典雅韵致与精湛技艺。",[23,24,25,26,437,59,923,61,62,7,4537,30,1856,1124],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c346d69351d49d24311e155794dd04a.jpg",[42],"988264",{"id":4542,"slug":4543,"title":3901,"dynasty":223,"author":4544,"museum":20,"description":4545,"tags":4546,"thumbUrl":4547,"material":1218,"size":179,"collection":124,"collections":4548,"showCount":4549,"zanCount":48,"manualWeight":48,"mainColor":128},237184,"shan-shui-ce-sun-yi-237184","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[24,28,27,118,385,30,63,64,117,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34d67da6623fc74c8d4a14b73f0be1b.jpg",[124,45],118,{"id":4551,"slug":4552,"title":4553,"dynasty":223,"author":381,"museum":20,"description":4554,"tags":4555,"thumbUrl":4557,"material":936,"size":4558,"collection":179,"collections":4559,"showCount":4549,"zanCount":928,"manualWeight":48,"mainColor":128},233122,"sou-jin-qi-feng-tu-juan-shi-tao-233122","搜尽奇峰图卷","画卷迎首处，石涛自题：“搜尽奇峰打草稿”，钤“老涛”。画尾的空白处，有石涛于画兴之余所题写的长篇画论：“郭河阳论画，山有可望者、可游者、可居者。余曰：江南江北，水陆平川，新沙古岸，是可居者。浅则赤壁苍横，湖桥断岸，深则林峦翠滴，瀑水悬争，是可游者。峰峰入云，飞岩堕日，山无凡土，石长无根，木不妄有，是可望者。今之游于笔墨者，总是名山大川未览，幽岩独屋何居？出郭何曾百里入室，那容半年交泛滥之酒杯，货簇新之古董，道眼未明，纵横习气安可辩焉？自之曰：此某家笔墨，此某家法派，犹盲人之示盲人、丑妇之评丑妇尔，赏鉴云乎哉。不立一法，是吾宗也，不舍一法，是吾旨也，学者知之乎。时辛未二月，余将南还客且憨斋，宫纸余案，主人慎庵先生索画并识请教，清湘枝下人石涛元济。”钤“苦瓜和尚”、“冰雪悟前身”、“石涛”。\n后隔水及尾纸，有墨香堂、陈奕禧、徐云、叶河音布等家题诗和题记。全幅钤鉴藏印数十方。\n此图是他50岁云游京师所作。图中有一段对长城的描绘，这不仅是长城图像首次在山水画中出现，同时，也印证了此画的写实性以及作者所提倡的师法造化“搜尽奇峰打草稿”的美学观。该画在表现上，于奇险中见雄浑，严谨处寓虚空。虽看似笔墨豪放，皴擦点染尽在无意，而在整体上却把握了峰峦层次，云气走向及林木隐现的神韵。特别是，它的构图虽然充塞满纸，却丝毫不失疏朗空灵，这的确是只有搜尽奇峰才能炼就出的本领。",[24,25,26,114,30,118,119,153,120,4556,243,32,7,117,37,73,1705],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2509a448a26e43ea37e9080967b1229.jpg","纵42.8厘米，横285.5厘米",[],{"id":4561,"slug":4562,"title":4563,"dynasty":223,"author":2332,"museum":423,"description":2995,"tags":4564,"thumbUrl":4571,"material":415,"size":4572,"collection":331,"collections":4573,"showCount":4549,"zanCount":928,"manualWeight":48,"mainColor":128},223163,"bai-niao-chao-feng-qian-bu-fen-shen-quan-223163","百鸟朝凤（前部分）",[23,24,26,29,28,171,4565,4566,2997,172,156,7,4567,567,4568,528,117,64,4569,4317,4570],"百鸟","凤凰","梅花","翠竹","繁花","四季景色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6000dd4bebda5da888f414ac55bd6c91.jpg","纵40厘米，横1600厘米",[331,45],{"id":4575,"slug":4576,"title":4577,"dynasty":54,"author":801,"museum":20,"description":4578,"tags":4579,"thumbUrl":4580,"material":140,"size":4581,"collection":124,"collections":4582,"showCount":4549,"zanCount":48,"manualWeight":48,"mainColor":49},222346,"bu-xi-tu-tang-yin-222346","步溪图","一人徐步缓行，一人与之相对而立，神态怡然。衣纹洗练流畅，衣袖随风飘舞，生动刻画了悠闲自在的隐士形象。用笔苍秀，构图高远，画格既有南宋[院体]画遗风，又具有元代文人画秀雅的特色。右上自题诗云：[卜宅临溪上，开门近步头。渔樵通互市，耕钓是贻谋。山晓青排闼，波晴绿漾舟。主君朝学海，枕石漱清流。姑苏侍生唐寅作《步溪图》并题奉呈黎老大人先生。]下钤二印。",[23,24,114,118,30,202,7,117,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff633694d671ff94560b7fe877887ca21.jpg","纵159厘米，横84.3l厘米",[124,103],{"id":4584,"slug":4585,"title":4586,"dynasty":133,"author":909,"museum":167,"description":4587,"tags":4588,"thumbUrl":4589,"material":555,"size":4590,"collection":124,"collections":4591,"showCount":4549,"zanCount":48,"manualWeight":48,"mainColor":128},220170,"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","此画写的是江南山庄的景色，平远为山水，较为隐约，近处为山坡，坡陀上山石横卧。中幅画有数棵穿天大树，大树下画有一亭子，座落在远山、近石之间。\n画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。” 幅上有潘纯题。",[23,24,25,202,114,118,30,540,1313,1665,500,1390,328,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","纵83.4厘米，横52.9厘米",[124],{"id":4593,"slug":4594,"title":4595,"dynasty":18,"author":3479,"museum":4596,"description":4597,"tags":4598,"thumbUrl":4600,"material":303,"size":4601,"collection":179,"collections":4602,"showCount":4549,"zanCount":48,"manualWeight":48,"mainColor":128},219190,"xiao-xiang-ba-jing-dong-ting-qiu-yue-mu-xi-219190","潇湘八景-洞庭秋月","德川美术馆","薄雾似纱轻笼水面，远山隐于烟霭，如黛色剪影浮在天际。一叶扁舟孑然，渔翁身影模糊在夜色里，船尾涟漪搅碎秋月清辉。近岸树影婆娑，墨色淡染，似与雾气相融。天地静得只剩呼吸，秋夜凉意随淡墨游走，每一笔都透着禅意空灵。简淡笔触里藏着洞庭秋夜的幽远，观者仿佛听见水波轻响，看见月光洒在船舷，心沉入静谧烟波深处，触到自然最本真的呼吸。",[23,24,25,475,114,228,4599,30,2316,115,37,7,500],"渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbf818004329886216e8020600b6c8e.jpg","29.4x93.1厘米",[],{"id":4604,"slug":4605,"title":4606,"dynasty":18,"author":434,"museum":56,"description":4607,"tags":4608,"thumbUrl":4612,"material":78,"size":179,"collection":124,"collections":4613,"showCount":4549,"zanCount":11,"manualWeight":48,"mainColor":49},219171,"si-ji-shan-shui-tu-yi-ming-219171","四季山水图","长卷铺展，四季流转于笔墨间。山石以斧劈皴勾勒，棱角分明如剑戟森立；树木或葱郁或萧疏，枯荣交替藏时序更迭。江波浩渺，帆影点点，山间屋舍隐现，行人穿梭林泉，尽显天人合一之趣。墨色浓淡相宜，虚实相生：远处山峦笼薄雾，近处景物纤毫毕现，层次深远如临其境。整幅画作兼具北派雄健风骨与南派秀逸雅致，于咫尺间纳千里江山，既见宋代山水画的精湛技法，更藏文人对自然时序的细腻感知与哲思。",[23,24,26,475,114,3296,117,7,2715,1288,1705,71,4609,4610,4611],"四季","天人合一","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9610bad6f53abc741aa292bb661c52c4.jpg",[124],{"id":4615,"slug":4616,"title":4617,"dynasty":54,"author":955,"museum":20,"description":4618,"tags":4619,"thumbUrl":4620,"material":360,"size":3905,"collection":179,"collections":4621,"showCount":4622,"zanCount":48,"manualWeight":48,"mainColor":128},234294,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234294","董其昌山水册","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[24,25,385,114,118,30,7,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c557e3d03c9fa8ddf25f0c6f8a1e0ef.jpg",[],117,{"id":4624,"slug":4625,"title":4626,"dynasty":223,"author":1431,"museum":368,"description":4627,"tags":4628,"thumbUrl":4630,"material":360,"size":4631,"collection":124,"collections":4632,"showCount":4622,"zanCount":11,"manualWeight":48,"mainColor":49},222626,"gua-bi-fei-quan-tu-zhou-gong-xian-222626","挂壁飞泉图轴","此图描绘大山峻岭，云雾缥缈。山腰松林密布，草木葱茏，又有白瀑流涧，可闻水声。溪涧之上架廊桥一座，虽陂陀斜立，却有房合数间。近处古木并立，树荫浓郁，其间山庄院落隐于树林之中，山径通幽处，但闻鸟语声。作者用积墨法层层渲染山石，笔墨厚重，又“留白”以示云烟白瀑，黑白对比强烈。",[23,24,114,118,202,30,117,7,204,4629,116,64,63],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b66fa0f3b8cdccbe70dc2ab8e964d.jpg","纵273厘米，横99厘米",[124,103],{"id":4634,"slug":4635,"title":2028,"dynasty":223,"author":3550,"museum":2956,"description":4636,"tags":4637,"thumbUrl":4639,"material":122,"size":4640,"collection":124,"collections":4641,"showCount":4622,"zanCount":48,"manualWeight":48,"mainColor":49},220430,"you-gu-tu-kun-can-220430","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[23,24,25,202,30,28,118,62,64,117,7,37,61,4638,540,501],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 59.21",[124,45],{"id":4643,"slug":4644,"title":4645,"dynasty":18,"author":239,"museum":266,"description":4646,"tags":4647,"thumbUrl":4648,"material":303,"size":179,"collection":124,"collections":4649,"showCount":4622,"zanCount":928,"manualWeight":48,"mainColor":49},219946,"xi-shan-qiu-shuang-tu-guo-xi-219946","溪山秋爽图","此作画境清旷萧疏，以高远、深远之法排布山水。左畔层岩叠起，卷云皴写出山石嶙峋肌理，苍松杂木间植崖谷，枝叶枯荣尽染秋意。右侧留白铺陈溪岸远山，淡墨晕染出空濛秋气，虚实相映，将秋日山林的辽远静穆铺展尽致。\n\n干湿笔墨相济，勾勒皴擦尽显丘壑灵秀，点染林木兼具法度。将秋山的松风漱石、溪岸的澄澈清寂融于一卷，藏着林泉高致的文人意趣，仿佛踏入画中，便可揽尽秋日山岚的高爽清逸。",[24,30,202,140,114,118,2451,243,244,7,206,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a1d6d39da56cd4d6711f5f61995abd.jpg",[124],{"id":4651,"slug":4652,"title":4653,"dynasty":223,"author":2792,"museum":20,"description":4654,"tags":4655,"thumbUrl":4656,"material":78,"size":4657,"collection":124,"collections":4658,"showCount":4622,"zanCount":48,"manualWeight":48,"mainColor":49},218366,"lu-shan-bai-yun-tu-wang-hui-218366","庐山白云图","此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。据王翚自题，因30年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。”这幅作品恰恰印证了王时敏对王翚的评价。\u2028　　“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。",[23,24,25,26,114,28,30,4114,31,7,204,116,37,117,35,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fdd2ef1404824446ef2999ef18a75.jpg","纵35厘米，横323.5厘米",[124],{"id":4660,"slug":4661,"title":4662,"dynasty":18,"author":713,"museum":459,"description":4663,"tags":4664,"thumbUrl":4667,"material":78,"size":4668,"collection":44,"collections":4669,"showCount":4622,"zanCount":631,"manualWeight":48,"mainColor":49},216738,"ren-wu-gu-shi-tu-juan-liu-song-nian-216738","人物故事图卷","人物故事图卷是宋朝时期的一部传统文学作品，由刘松年编撰。这部作品记录了中国历史上许多杰出人物的生平故事，内容涵盖了从周朝到宋朝的历史时期。人物故事图卷以简要的文字和生动的图画讲述了各个人物的故事，并通过对比和描述来展示他们的性格、品质和道德。这部作品对了解中国历史和文化具有重要意义，并且今天仍然是中国传统文学研究的重要参考资料。",[23,29,28,26,120,119,59,61,62,70,7,117,173,592,4665,116,68,4666,528,540],"衣冠","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06547500b479d14c237b5c8c3448d3ed.jpg","26.1x446.5",[44],{"id":4671,"slug":4672,"title":4673,"dynasty":54,"author":110,"museum":20,"description":4674,"tags":4675,"thumbUrl":4678,"material":4679,"size":4680,"collection":179,"collections":4681,"showCount":4682,"zanCount":928,"manualWeight":48,"mainColor":128},234896,"tong-yin-wan-he-tu-zhou-shen-zhou-234896","桐荫玩鹤图轴","北京故宫博物院建院90周年石渠宝笈特展（2015.9.8）首次释出，之前仅见于出版物。具体规格不详。网上找不到更多的资料。从画面上看，乾隆曾经两度题跋，可见对此画之钟爱。绘画风格属于沈周细笔青绿山水一路，表现的是文人雅士向往的闲适生活。\n沈周(1427-1509)，明代书画家。字启南，号石田、白石翁、玉田生、有竹居主人等。长洲(今江苏苏州)人。不应科举，专事诗文、书画，是明代中期文人画吴派的开创者，与文徵明、唐寅、仇英并称明四家。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。\n沈周在元明以来文人画领域有承前启后的作用。他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。 在绘画方法上，沈周早年承受家学，兼师杜琼。后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。沈周中年时成为画坛领袖，技法严谨秀丽，用笔沉着稳练，内藏筋骨。晚年时性情开朗，笔墨粗简豪放，气势雄浑。纵观沈周之绘画，技法全面，功力浑厚，在师宋元之法的基础上有自己的创造，进一步发展了文人水墨山水、花鸟画的表现技法，被誉为吴门画派之领袖。",[24,25,152,202,114,28,118,30,4676,1620,117,7,61,206,4677],"桐树","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1190c5847d26b513d9f435eb7b973.jpg","绢本 ，设色","纵123.8cm，横62.6cm",[],116,{"id":4684,"slug":4685,"title":4686,"dynasty":18,"author":434,"museum":167,"description":4687,"tags":4688,"thumbUrl":4689,"material":78,"size":4690,"collection":42,"collections":4691,"showCount":4682,"zanCount":48,"manualWeight":48,"mainColor":128},218811,"jie-hua-lou-ge-2-yi-ming-218811","界画楼阁2","这幅画和另一幅亭子的边框画应该是同一个人在同一时间画的，但这幅画离建筑更近一些，这使它更富丽堂皇。在这幅山崖画中，笔触与马、夏相似，但有相同的魅力。",[24,25,59,385,28,62,30,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4826f7703c0edc976ee25967d7cb579d.jpg","23.9x26.1",[42],{"id":4693,"slug":4694,"title":4695,"dynasty":223,"author":434,"museum":167,"description":4696,"tags":4697,"thumbUrl":4698,"material":78,"size":4699,"collection":124,"collections":4700,"showCount":4682,"zanCount":666,"manualWeight":48,"mainColor":128},214660,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-1-yi-ming-214660","乾隆缂丝山水挂屏四轴-1","此四轴用挑经显纬的刻丝之法绘就仙山楼阁，有仙鹤和白云，象征着吉祥如意。在山体的岩石部分用蓝色和赭石绘制的织品，使其与丝绸和纸上的绘画完全相同，显示出乾隆时期丝绸织品的精致。",[24,566,28,30,62,7,117,881,1620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9319e86c70e3c72abbd72d15b43374.jpg","93.8x25.6",[124],{"id":4702,"slug":4703,"title":4704,"dynasty":133,"author":134,"museum":459,"description":4705,"tags":4706,"thumbUrl":4707,"material":179,"size":179,"collection":179,"collections":4708,"showCount":4709,"zanCount":928,"manualWeight":48,"mainColor":49},230907,"shan-shui-tu-ye-huang-gong-wang-230907","山水图页","危崖高峙于右侧，山石以干笔皴擦，淡赭敷色，苍劲朴拙尽显。林麓间村居错落，古木虬枝扶苏，溪岸萦回转绕，远山晕染出空濛清气。\n\n全作用笔松灵秀逸，以简驭繁，淡设色晕染间将秋山萧疏淡远融于尺幅，既有山川厚重质感，又暗含文人幽寂散淡的隐逸意趣。于淡远中见雄浑，细微处藏丘壑，尽显林泉高致的悠然澹泊。",[24,25,385,114,118,30,341,7,35,117,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c55781314ada71bf26fe09b31ae6de.jpg",[],115,{"id":4711,"slug":4712,"title":4713,"dynasty":18,"author":239,"museum":459,"description":4714,"tags":4715,"thumbUrl":4716,"material":179,"size":179,"collection":179,"collections":4717,"showCount":4709,"zanCount":928,"manualWeight":48,"mainColor":49},227600,"xi-shan-qiu-ji-tu-ju-bu-yi-guo-xi-227600","溪山秋霁图（局部一）","许道宁，中国北宋画家。生卒年不详，活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅画山水，师法李成而能自成一家之体。\n\n早年在汴京（今河南开封）以卖药为生，以画吸引顾客，随药送画，逐渐得名，公卿士大夫争相延请。许氏长于画林木、平远、野水三种景色，晚年笔法简快，所画峰峦树木，峭拔劲硬。\n\n被认为是继李成、范宽之后山水画第一人。米芾和黄庭坚等大家都对其画作极为赞赏。许道宁性格豪放，嗜酒如命，人号“醉许”，黄庭坚更是曾在《答王道济寺丞观许道宁山水图》诗中描绘了许道宁醉中作画的神情举止",[23,152,24,26,114,118,30,7,37,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d640d86977ce4b9c75fce90e0ebd9d.jpg",[],{"id":4719,"slug":4720,"title":4721,"dynasty":18,"author":4722,"museum":459,"description":4723,"tags":4724,"thumbUrl":4725,"material":179,"size":179,"collection":179,"collections":4726,"showCount":4709,"zanCount":928,"manualWeight":48,"mainColor":128},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[23,152,24,25,26,437,114,118,30,61,115,116,156,7,244,62,64,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],{"id":4728,"slug":4729,"title":4730,"dynasty":223,"author":4731,"museum":459,"description":4732,"tags":4733,"thumbUrl":4734,"material":140,"size":2275,"collection":124,"collections":4735,"showCount":4709,"zanCount":11,"manualWeight":48,"mainColor":49},224596,"e-pang-gong-tu-ping-yuan-jiang-224596","阿房宫图屏","袁江","本幅无款，钤“袁江之印”、“文涛”印2方。有宋伯鲁录《阿房宫赋》全文并识。\n古代历史上著名的宫阙殿宇和民间传说中的阆苑琼楼都是袁江笔下反复描绘的题材内容，此幅即以秦始皇三十五年（公元前212年）兴建的阿房宫为题。画家凭借自己精深的古建知识和丰富的想象力使一组组已经逝去的带有神秘色彩的建筑得以再现。此图使用12条通景屏的表现手法，充分利用画面的宽度与广度，再现了阿房宫当年的恢弘气势，将华贵绮丽的画风发展到极致。",[23,152,24,25,59,29,28,30,62,117,7,37,399,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7ea797c054eb61e8fe9d424db56755.jpg",[124],{"id":4737,"slug":4738,"title":599,"dynasty":18,"author":312,"museum":3752,"description":4739,"tags":4740,"thumbUrl":4741,"material":4742,"size":4743,"collection":42,"collections":4744,"showCount":4709,"zanCount":48,"manualWeight":48,"mainColor":49},221507,"shan-shui-tu-xia-gui-221507","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等",[23,24,114,30,118,7,117,116,1290,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab5472f3ba598d3a5927e16ecc79efb.jpg","绢本 水墨","25.9×34.3厘米",[42,124,103],{"id":4746,"slug":4747,"title":4748,"dynasty":54,"author":537,"museum":382,"description":4749,"tags":4750,"thumbUrl":4751,"material":122,"size":179,"collection":124,"collections":4752,"showCount":4709,"zanCount":928,"manualWeight":48,"mainColor":49},220428,"you-jian-zhuo-zu-tu-wen-zheng-ming-220428","幽涧濯足图","图绘深山幽涧，高士濯足涤俗。山石皴法不作奇峭之笔，徐徐擦出，崖上之树叶全用细笔点染，全幅清气出尘，观之使人爽然。",[23,152,24,25,202,28,30,61,7,244,1546,64,540,118,245,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6ce959c12441f921b6cc387711c038.jpg",[124,44,45],{"id":4754,"slug":4755,"title":4756,"dynasty":18,"author":434,"museum":167,"description":4757,"tags":4758,"thumbUrl":4759,"material":78,"size":4760,"collection":42,"collections":4761,"showCount":4709,"zanCount":11,"manualWeight":48,"mainColor":49},218797,"hua-hu-tu-yi-ming-218797","画虎图","这幅画上的签名是 袁桂珍画虎。在面板的左侧是 归真 的签名，似乎已经被改变。因此需要进一步研究，以确定这幅画是由 归真 还是 李 姓画家创作的。画中，旷野荒凉，松树茂盛，绿竹随风飘荡，溪水潺潺。中国的习俗是把鹰和虎都画在一起。'虎'字形容地势雄伟险要，'鹰'字指的是雄伟壮丽的人才展示。这是一种比喻方式，表达了一种优越的地位和挥舞大权的能力。对于古代画家来说，老虎并不像今天这样容易看到，这幅画对老虎的形态描绘得非常精致，是中国绘画史上最好的作品之一。画风的上限可能早于元代，但可能是南宋的作品。",[23,24,2895,28,118,4537,1855,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15501d2a2c11b6aebfe96cf28f72ce0c.jpg","25.6x26.6",[42],{"id":4763,"slug":4764,"title":4765,"dynasty":54,"author":801,"museum":551,"description":4766,"tags":4767,"thumbUrl":4769,"material":4770,"size":4771,"collection":179,"collections":4772,"showCount":4773,"zanCount":11,"manualWeight":48,"mainColor":128},232644,"hua-shan-tu-tang-yin-232644","华山图","唐伯虎才气横溢，但并不风流，他的诗、书、画被称为三绝，在绘画上，唐寅擅长山水，又工画人物，尤其是精于仕女，画风既工整秀丽，又潇洒飘逸，被称为“唐画”，为后人所推崇。书法源自赵孟頫一体，俊逸秀挺，颇见功夫。此外，他还能作曲，多采民歌形式。如此多才，明代文人中是少见的。\n唐寅早期绘画，“远攻李唐”、“近交沈周”。早期拜吴门画派创始人沈周为师。沈周和周臣都是当时苏州名画家，沈以元人画为宗，周则以南宋院画为师，这是明代两大画派，唐寅虽师周臣，却有胜蓝之誉。唐寅兼其所长，在南宋风格中融元人笔法，一时突飞猛进，以至超越老师周臣，名声大振。",[24,114,118,28,30,117,204,7,64,37,289,502,4768],"山间建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe916074f76617bd5a06b97eccc3110f2.jpg","纸本浅设色","116.4x41.4厘米",[],114,{"id":4775,"slug":4776,"title":4777,"dynasty":54,"author":4778,"museum":4779,"description":4780,"tags":4781,"thumbUrl":4782,"material":40,"size":4783,"collection":331,"collections":4784,"showCount":4773,"zanCount":11,"manualWeight":48,"mainColor":49},221940,"bai-he-tu-juan-bian-wen-jin-221940","百鹤图卷","边文进","四川省博物馆","此图笔墨精炼，色调明快，绘白鹤近百只，皆丹顶白毛黑尾长腿，或空中盘旋、或水中嬉戏、或伏地栖息、或飞鸣啄食、或舒翼理毛……神态各异，莫不栩栩如生，各臻其妙。鹤群栖息之处鲜花绽放、松树遒劲、水流奔腾、湖石耸立，群鹤和睦，情景融融。",[23,24,26,29,28,171,1620,540,154,117,7,156,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94bd1c5f39208d59af0aa9219a8508f.jpg","25.4*241.33cm",[331,45],{"id":4786,"slug":4787,"title":4788,"dynasty":133,"author":4160,"museum":167,"description":4789,"tags":4790,"thumbUrl":4791,"material":316,"size":4792,"collection":124,"collections":4793,"showCount":4773,"zanCount":928,"manualWeight":48,"mainColor":128},221759,"qiu-jiang-dai-du-tu-zhou-sheng-mao-221759","秋江待渡图轴","《秋江待渡图》以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。\n盛懋创作山水画大多采用深远法、或是高远法，画作清淡素雅，笔法笔墨却也显得较为圆熟。《秋江待渡图》以其浓淡交融的笔墨展现了极为幽静的远山近水景致，构图均衡，树木近景与远山远景形成了上下两段景致，看上去隔着成片留出“空白”的江水却也没有绝然分开的感觉。",[23,24,114,118,202,119,30,7,117,115,156,1290,500,3987,1376,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83624ed7642a9ada118ca442a0f4a1e.jpg","纵112.5厘米，横46.3厘米",[124,103],{"id":4795,"slug":4796,"title":4797,"dynasty":54,"author":955,"museum":382,"description":4798,"tags":4799,"thumbUrl":4800,"material":122,"size":4801,"collection":124,"collections":4802,"showCount":4773,"zanCount":11,"manualWeight":48,"mainColor":49},220429,"hua-fa-mi-jue-tu-dong-qi-chang-220429","画法秘诀图","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，今上海市人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。",[23,24,25,26,114,28,30,7,117,35,119,120,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F335b0d30fc47e443891fea49553c18fa.jpg","31x276.5",[124,45],{"id":4804,"slug":4805,"title":4806,"dynasty":18,"author":3479,"museum":4807,"description":4808,"tags":4809,"thumbUrl":4812,"material":78,"size":179,"collection":179,"collections":4813,"showCount":4814,"zanCount":48,"manualWeight":48,"mainColor":128},219193,"xiao-xiang-ba-jing-yan-si-wan-zhong-mu-xi-219193","潇湘八景-烟寺晚钟","富山纪念馆","烟岚弥漫的潇湘之畔，淡墨晕染出一片空濛。薄雾中，林树错落，寺宇隐现，浓墨点染的枝叶在朦胧里摇曳，似与雾气共舞。远处飞鸟轻掠，融入苍茫，静谧无声。虽无钟鸣具象，却在这空灵氛围中，仿佛听见晚钟穿透烟霭的悠远余韵，涤荡心尘。牧溪以极简笔墨，将自然之境与禅意相融，淡处见真，空里藏情。每一笔淡墨都似时光的痕迹，每一缕烟岚都承载着东方美学的含蓄深邃，尽显潇湘烟景的淡泊与宁静，让人在朦胧中感知心境的悠远与超脱。",[23,24,114,228,4810,7,156,30,4599,4811],"烟霭","朦胧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff345a478c64a9b36297fa0e4606f44eb.jpg",[],113,{"id":4816,"slug":4817,"title":599,"dynasty":223,"author":4818,"museum":4819,"description":4820,"tags":4821,"thumbUrl":4822,"material":114,"size":179,"collection":103,"collections":4823,"showCount":4814,"zanCount":48,"manualWeight":48,"mainColor":128},219104,"shan-shui-tu-wu-chang-shuo-219104","吴昌硕","昆仑堂美术馆","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”",[23,24,114,118,30,117,7,1067,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0488d490bb0bcbb1636d1d5c2802d4f.jpg",[103],{"id":4825,"slug":4826,"title":599,"dynasty":54,"author":4827,"museum":20,"description":4828,"tags":4829,"thumbUrl":4830,"material":78,"size":4831,"collection":124,"collections":4832,"showCount":4814,"zanCount":928,"manualWeight":48,"mainColor":128},218515,"shan-shui-tu-du-qiong-218515","杜琼","画幅右上画家自题：“余尝写此境为有趣，适陈孟贤、郑德辉二公相访见之。孟贤曰，此幅可，郑公盍求诸？德辉略无健羡之色。孟贤强之，乃启言，予不敢靳也。德辉廉静寡欲，于物无所嗜好，使王维、吴道玄复生亦无所爱，此其所以能养其德也。夫以心之玩好，乃学者之病，观于德辉，则有以警于人人哉！景泰五年甲戌岁上元日，杜琼书。”题跋前钤白文“古心”、朱文“旌节名门”印，题跋后钤朱文“杜氏用嘉”、白文“东原耕者”、朱文“持敬观理”印。画面右下方有白文“陶情写意”印。\n此画作于明景泰五年（1454年），杜琼时年59岁。图中山峰耸峙，层峦迭嶂，弯曲的河流将画面中下部的山峰隔为两段，画面右下山谷林木间有山庄草亭，一文士正在草亭中读书；桥上有一拄杖文士携童子向山庄走来。该幅构图饱满，山石用圆润细密的披麻皴，浓墨点苔，系画家仿元王蒙风格而出新意的代表作之一。杜琼学王蒙颇有心得，他在52岁时作的《萝萱堂水墨山水》中就自题云：“余学黄鹤（王蒙号）最精。”顾复评价他于正统年间所作的《对泉图》时也称他“学叔明（王蒙字）能脱塞实之习，自然高雅”。",[23,152,24,25,202,114,28,118,30,63,64,7,117,61,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15565c9a8c4a1de8ad94b72defc1db1d.jpg","纵122.4厘米，横38.9厘米",[124],{"id":4834,"slug":4835,"title":4836,"dynasty":223,"author":434,"museum":459,"description":4837,"tags":4838,"thumbUrl":4839,"material":179,"size":179,"collection":179,"collections":4840,"showCount":4841,"zanCount":666,"manualWeight":48,"mainColor":49},230302,"fang-chou-ying-wang-chuan-tu-yi-ming-230302","仿仇英辋川图","此作用鲜亮石青、石绿晕染勾勒山峦，兼具勾勒骨力与晕染秀润，设色雅致明丽。画幅间烟波浩渺，云气悠然萦绕山谷峰林，村居屋舍错落隐现于林木水岸之间，将辋川别业的林泉意韵铺陈开来。整体意境清旷淡远，把诗意山居化为具象图景，尽显复古工笔青绿山水的雅逸格调，传递出隐世丘园的悠然禅意。",[23,24,25,26,27,28,29,60,30,243,37,7,69,32,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311e89b0c05248950e4ccf7747f51546.jpg",[],112,{"id":4843,"slug":4844,"title":4845,"dynasty":54,"author":55,"museum":167,"description":4846,"tags":4847,"thumbUrl":4849,"material":78,"size":4850,"collection":124,"collections":4851,"showCount":4841,"zanCount":666,"manualWeight":48,"mainColor":49},222204,"qiu-jiang-dai-du-zhou-chou-ying-222204","秋江待渡轴","此幅用笔极工，盖实父着意之作也。画未署款，惟石角水陬，分钤三印。竹树双钩，如唐人小楷，笔笔尽法。山石带皴带砍，要与斧劈为近，重而不滞，轻而不浮。点景人物，尤尽传神之妙。有项元汴，安岐藏印。",[23,152,24,25,202,28,29,118,30,61,4848,115,503,117,7,968],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d22204dd46057a8ac8e4dd002a40813.jpg","155.4x133.4公分",[124,45],{"id":4853,"slug":4854,"title":4855,"dynasty":18,"author":4856,"museum":20,"description":4857,"tags":4858,"thumbUrl":4859,"material":4860,"size":4861,"collection":179,"collections":4862,"showCount":4841,"zanCount":48,"manualWeight":48,"mainColor":49},221675,"wan-song-jin-que-tu-juan-quan-juan-zhao-bo-su-221675","万松金阙图卷全卷","赵伯骕","该图画江南的湖畔松岭和楼阁，松树茂密，山巅蜿蜒，上有琼楼金阙。\n该图属青绿山水，笔法清细繁复，格调柔丽雅洁，显示出南宋皇家贵胄的审美情趣。\n该图的出现，标志着宋代山水画的表现对象从北方雄浑的山川转移到江南的青山绿水。\n图绘南宋都城临安郊外风凰山一带景色碧波万顷，红日初升，茂林长松，惊起翔鹤飞鸿，川间琼楼金阙隐约可见。\n该图尾纸有元代赵孟頫、倪瓒、张绅题跋。\n赵伯骕唯一存世的画迹是《万松金阙图》卷，幅上虽无作者款印，但后纸有宋宗室后裔元代赵孟頫的鉴定题记，将此作定为赵伯骕的奉敕之作。\n图中所画是临安皇城之北的万松岭，“金阙”是特指皇帝的宫殿。\n绍兴八年（118年），赵构定都临安，以行宫为基础，东起凤山门，西至凤凰山麓，南抵笤帚湾，北达万松岭，在这方圆18里的范围内营造了南宋皇朝宫殿。\n万松岭相当于宫城的后花园，在那里，有供皇室四季游玩的亭台楼阁，如夏季可在翠寒宫避暑。\n冬季可在明远楼避寒，中秋可在依桂阁赏月，还有专供醉卧用的钟美堂……。\n赵伯骕所绘的“万松”和“金阙”正是此处，画中的金阙周围有许多仙鹤和瑞禽，皇家宫阚掩映在万松之中，在万松的尽头，是钱塘江畔，在潮起潮落之后，是一片宁静，一轮初升的太阳映照山川，其画意在于祷祝宋室江山如松林常青、似日月永年。\n赵伯骕是一位富有艺术情感的画家，他认为： “画家类能具其相貌，但吾辈胸次。\n自应有一种风规，俾神气悠然，韵味清远，不为物态所拘，便有佳处。 况吾所存，无媚于世而能合于众情者，要在悟此。\n”所以，这是一位皇族画家在受到皇帝恩典后发自内心的无限感激和祈祝之后创作的绘画。\n不过，也有学者认为，《万松金阙图》主要描绘了平江府天庆观及其周围的景致，图中金阙（楼阁）是天庆观内三清殿等为皇家祈福的道教圣殿，是一幅粉饰太平、歌颂孝宗赵昚的绘画作品。\n全图的笔法清细随意，并参用了一些意笔，格调柔丽雅洁，毫无匠气，意味着南宋青绿山水画的崛起。\n这件山水长卷的超越前人之处在于摆脱了自六朝以来青绿山水以钩廓填色的艺匠手法，有机地融进了一些文人意笔。\n使两者巧妙地糅合为一体，画家大量地运用了墨点，横点联树成片，竖点作青苔，手法较为自由随意，这在当时是极富有创意的笔墨技巧。\n山间布置几处“金阙”建筑，用没骨法涂金敷色而成，突出于万松之表。\n几处建筑虽只露顶部，仍可见其造型的准确。\n近景的山石用皴笔为之，浑厚凝重，透视感强。\n此图同时还吸收了马和之等文人画家的笔墨新形式、新趣味，形成了笔法清细繁复、格调清新秀雅的新风格。\n此图开卷作海天杳渺，月明霞青，高松数株挺拔而立，群鹤翔集。\n海岸延伸至海中的礁石嶙峋黝黑，海浪平静起伏。\n坡岸上绿草成茵，围绕松树有一片桃林，红花点点相映其间，仅此开卷一段便有无穷景致。\n起伏层叠的峰岗构成了画面主体，或远或近，或平或伏，皆郁郁葱葱。\n《万松金阙图》显示了赵伯骕在继承传统和改革创新的成功尝试：构图和设色继承唐代李思训《江帆楼阁图》的绘画传统，但又有所突破。\n因此，《万松金阙图》可以视为宋代青绿山水从追求北方的雄浑之美向江南水乡清雅之美转变的一件典型作品，为其后元代文人山水画的发展开创了新局面。\n从该图钤印可知，该图历经清梁清标、安岐、乾隆帝、宣统帝收藏，民国初年被溥仪盗出宫外，新中国成立后被国家收购，195年由文化部文物局（今国家文物局）拨交北京故宫博物院。\n该图曾经《墨缘汇观》、《大观录》著录。\n217年9月15日至12月14日，《万松金阙图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯骕（1124～1182） ，南宋宗室，寄居平江府（治今江苏苏州），字希远。\n燕懿王赵德昭后裔。\n绍兴初，荫补入仕，为承节郎、监绍兴府馀姚县酒税。\n历任侍卫马军司干办公事、浙西安抚司干办官。\n隆兴二年（1164），擢浙西兵马副部监兼职德寿宫。\n进浙西兵马钤辖。\n乾道七年（1171），副中书舍人赵雄出使金朝，贺金主生日。\n还朝，自武翼郎超转武翼大夫，俄升浙西副总管。\n淳熙中，累迁浙西提点刑狱，官终武功大夫、和州防御使。\n善画山水花木，傅染轻盈，颇有生意。\n作品有《万松金阙图》、《仙峤白雪图》等。",[23,24,152,26,27,28,29,118,30,540,62,117,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1377606a06e9e5e04495fcfb385c4f1.jpg","绢本青绿设色","纵27.7厘米，横136厘米",[],{"id":4864,"slug":4865,"title":4866,"dynasty":133,"author":1837,"museum":20,"description":4867,"tags":4868,"thumbUrl":4871,"material":40,"size":179,"collection":331,"collections":4872,"showCount":4841,"zanCount":666,"manualWeight":48,"mainColor":128},220868,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220868","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,28,29,26,119,153,90,7,32,61,4869,30,4870],"秋天","牧放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c122896a7022800e9082ba42a60e43f.jpg",[331,45],{"id":4874,"slug":4875,"title":4876,"dynasty":18,"author":685,"museum":167,"description":4877,"tags":4878,"thumbUrl":4880,"material":40,"size":4881,"collection":42,"collections":4882,"showCount":4883,"zanCount":48,"manualWeight":48,"mainColor":49},221349,"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 五字，左下角钤“宣和殿制”印并“天下一人”画押。\n这是一幅描绘冬日雪景的山水画。画面起首远山平缓，进入中段以后，山势渐渐高耸，转而趋于平缓，整幅画面富有高低错落的节奏感，使观者仿佛身临其境，坐于舟船中，沿江眺望窗外时时变换的景色，充分展示了长卷绘画的特点和魅力。全卷用笔细劲，笔法流畅，意境肃穆凝重，代表了宋徽宗时期画院的艺术水平。",[23,26,29,118,114,28,120,3586,153,30,115,4879,7,117,73],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1036396b87433672d8f6f1cab8e3a99f.jpg","纵30.3厘米，横190.8厘米",[42,124,103],111,{"id":4885,"slug":4886,"title":4887,"dynasty":54,"author":4888,"museum":167,"description":4889,"tags":4890,"thumbUrl":4891,"material":303,"size":4892,"collection":124,"collections":4893,"showCount":4883,"zanCount":928,"manualWeight":48,"mainColor":128},220364,"shu-shan-tu-xu-ben-220364","蜀山图","徐贲","此图的蜀山非四川蜀山，而是指在江苏省宜兴东南的蜀山，苏轼爱其风景似蜀，故名。元末徐贲隐居于此。此图是徐贲居住山中时所作。画幅上方，徐贲以小楷长题，其中交代了作此画的原委：“吕山人自吴来访。余蜀山中登临燕赏，遂留数日。孤琴野艇，倏然告归。因画一纸以赠，并诗以道山居之乐，盖将以邀吾山人卜邻尔。噫!余今因画赋诗，君归而观此，必旋能因诗而念我山居也。栖霞憩月当翘首以待”。可见，此图的表现主题为山居归隐。在画面处理上，此图构图平稳，布局充实、满当而不拥堵；在表现技法上，山石作披麻皴，树木则勾点结合。全图用笔萧散、灵活自然，墨色干湿结合，雅淡透润，正好表现出蜀山灵秀之气。《蜀山图》是他的代表作。",[23,24,25,114,118,30,117,7,502,500,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a18ec46e445f532bd8e15851f452eb0.jpg","纵127．3厘米，横66．3厘米",[124,103],{"id":4895,"slug":4896,"title":4897,"dynasty":223,"author":4898,"museum":167,"description":4899,"tags":4900,"thumbUrl":4902,"material":122,"size":4903,"collection":331,"collections":4904,"showCount":4883,"zanCount":11,"manualWeight":48,"mainColor":128},218916,"feng-huang-wu-tong-tu-yang-da-zhang-218916","凤凰梧桐图","杨大章","设色画梧桐竹石，众鸟翔集。凤凰、白鹤、鸳鸯双栖其下，色彩鲜艳，呈现一片祥瑞之气。当时宫廷绘画喜好吉祥，本幅题材与画风即属此类。",[24,25,202,29,28,171,4566,4901,1620,117,7,2408,345,156],"梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff067e5de5237cf8c1c1b5a25bd6bdb9b.jpg","337.3x122.6cm",[331],{"id":4906,"slug":4907,"title":4908,"dynasty":133,"author":134,"museum":459,"description":4909,"tags":4910,"thumbUrl":4911,"material":808,"size":809,"collection":179,"collections":4912,"showCount":4913,"zanCount":928,"manualWeight":48,"mainColor":128},290082,"fu-chun-da-ling-tu-huang-gong-wang-290082","富春大岭图","图中画富春山重峦叠嶂，山巅晓雾迷遮，若隐若现。《富春大岭图》笔墨简括，布势雄奇，具有明显的荆浩、关仝的笔墨遗意，显然参入了荆浩、关仝的笔法，并有意识与董、巨的笔墨意境加以融合，用笔方圆兼备，山石稍作皴擦。",[152,24,25,114,30,202,63,243,7,244,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c89c80e112fc4a8caf0c405bdcd7387.jpg",[],110,{"id":4915,"slug":4916,"title":4917,"dynasty":223,"author":434,"museum":2805,"description":4918,"tags":4919,"thumbUrl":4920,"material":78,"size":4921,"collection":124,"collections":4922,"showCount":4913,"zanCount":48,"manualWeight":48,"mainColor":49},219918,"fang-jing-hao-kuang-lu-tu-yi-ming-219918","仿荆浩匡庐图","此作以全景铺陈层峦雄峰，取法北派山水沉郁雄浑的体格，硬朗苍劲的皴笔勾勒出山岩嶙峋质感，峰崖崔嵬直入云间，尽显巍峨磅礴之气。\n\n幽谷间虬木古拙苍劲，山居隐于林麓，飞瀑流泉循着山涧蜿蜒而下，为沉凝的山石注入灵动生机，高远与深远兼具，铺展出辽邈静谧的山林天地。古雅褐调晕染出幽寂的山野氛围，将大山大水的厚重气象，与林下幽居的隐逸意趣相融，摹古之间自有意趣生发，尽显传统山水的庙堂气度与林下风神。",[24,30,114,118,60,117,7,204,63,64,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb56e540505fbe81a87741e447dcf3e.jpg","180.3x67厘米",[124],{"id":4924,"slug":4925,"title":4926,"dynasty":18,"author":434,"museum":167,"description":4927,"tags":4928,"thumbUrl":4930,"material":78,"size":4931,"collection":44,"collections":4932,"showCount":4913,"zanCount":11,"manualWeight":48,"mainColor":49},219215,"qi-xi-qi-qiao-tu-yi-ming-219215","七夕乞巧图","该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷",[24,25,26,29,28,59,61,116,62,7,117,70,173,2938,4929,3630,3565,1665],"坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58d9388e985a9f6a1f3b8c8fc737cb.jpg","29.6x149.2厘米",[44],{"id":4934,"slug":4935,"title":4936,"dynasty":18,"author":575,"museum":423,"description":4937,"tags":4938,"thumbUrl":4941,"material":78,"size":4942,"collection":124,"collections":4943,"showCount":4913,"zanCount":666,"manualWeight":48,"mainColor":49},218579,"ye-chuan-dai-du-tu-ma-yuan-218579","野川待渡图","烟波浩渺的水面上，淡墨晕染的远山若隐若现，与空濛的天际相融，漾开无尽悠远。近岸林木苍劲，枝干盘曲如虬，浓墨点染的叶丛间透着生机。岸边人影错落，或伫立待渡，或舟中轻楫，动静相宜间，藏着几分江南水乡的日常意趣。画面以边角构图见阔远，留白处藏万千思绪，将清寂与悠远凝于绢素，尽显宋人山水的空灵之境，仿佛能闻得水面风吟，见得旅人归心。",[152,24,25,114,28,118,4939,30,32,61,115,7,500,244,4940,3987],"边角山水","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa886c296b26cb11f3bfc2ae180ea3d33.jpg","27x94.5cm",[124],{"id":4945,"slug":4946,"title":4947,"dynasty":54,"author":955,"museum":20,"description":4948,"tags":4949,"thumbUrl":4950,"material":303,"size":4951,"collection":124,"collections":4952,"showCount":4913,"zanCount":48,"manualWeight":48,"mainColor":128},218348,"fang-mi-fei-shu-hua-he-juan-dong-qi-chang-218348","仿米芾书画合卷","董其昌（1555—1636年），字玄宰，号思白，又号香光居士，华亭（今上海松江）人。明万历十六年（1588年）进士，官至礼部尚书，卒谥文敏。精于书画鉴赏，收藏很多名家作品，在书画理论方面论著颇多，其“南北宗”的画论对晚明以后的画坛影响深远。工书法，自谓于率易中得之，对后世书法影响很大。其书画创作讲求追摹古人，但并不泥古不化，在笔墨的运用上追求先熟后生的效果，拙中带秀，体现出文人创作中平淡天真的个性。加之他当时显赫的政治地位，其书画风格名重当世，并成为清代艺坛的主流。著有《画禅室随笔》、《容台集》、《画旨》等文集。",[23,24,25,26,114,60,120,119,118,153,30,243,7,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ff6dd2e58bbe82d29a2c53847ed8eb.jpg","23.7x75.4cm",[124,103,1822],{"id":4954,"slug":4955,"title":4956,"dynasty":54,"author":434,"museum":459,"description":4957,"tags":4958,"thumbUrl":4959,"material":808,"size":809,"collection":179,"collections":4960,"showCount":4961,"zanCount":48,"manualWeight":48,"mainColor":128},287980,"fang-chou-ying-shui-mo-ren-wu-hua-yi-ming-287980","仿仇英水墨人物画","整卷以水墨铺展平远丘林，清劲线条勾勒层叠山峦与苍古林木，皴染兼具，带着雅致工秀的笔墨意趣。坡田间细笔描摹田垄肌理，尽显乡野质朴生机，留白虚实相生，将郊野旷远意境缓缓铺陈。\n\n林泉田垄间淡墨点染人物，身形简括却情态悠然，藏着村居野逸的松弛意态。画作兼得院体精工与文人山水的萧散淡远，将江南郊野的日常烟火与林泉雅韵相融，笔墨温润秀雅，把幽远恬和的隐逸之思藏进山野林峦之中，尽显隽永悠然的山水意境。",[23,24,26,152,114,30,7,61,118,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bc9b7470cb387f6925d37307008f0c.jpg",[],109,{"id":4963,"slug":4964,"title":4617,"dynasty":54,"author":955,"museum":459,"description":4965,"tags":4966,"thumbUrl":4967,"material":179,"size":179,"collection":124,"collections":4968,"showCount":4961,"zanCount":11,"manualWeight":48,"mainColor":128},234974,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234974","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[24,114,30,7,37,500,118,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e702ea296c830fd9f358026fa00831e.jpg",[124],{"id":4970,"slug":4971,"title":4972,"dynasty":133,"author":4160,"museum":1443,"description":4973,"tags":4974,"thumbUrl":4975,"material":415,"size":4976,"collection":124,"collections":4977,"showCount":4961,"zanCount":666,"manualWeight":48,"mainColor":49},221754,"shan-ju-na-liang-tu-zhou-sheng-mao-221754","山居纳凉图轴","《山居纳凉图》用笔工细严谨，如果没有印鉴放入一堆宋画中很难识别。盛懋的父亲就是职业画家，自小盛懋就受到严格的技法训练，尤其是董源和巨然二人的作品更是熟烂于胸。从这一点看，盛懋并不排斥文人画的风格。\n《山居纳凉图》采用传统的三段式构图，中景处添加了大量烟云，在肃穆中增添了活泼的感觉。作为一名职业画家，很重视作品中的通俗性，在创作中喜欢加入故事性元素拉近与欣赏者的距离。画中有一座水阁临泉而建，四面通风，浓荫遮日。尤其是水阁中的雅士身着薄纱，袒胸露腹，画出了世人对雅士的共同印象——洒脱不羁。在用色上，盛懋为了突出青绿山水的装饰性美感，山中密林也精细勾染一丝不苟，让整幅作品在雅致中带有一种富贵气息。这样的作品从技法层面实在挑不出一点毛病。\n欣赏盛懋的作品就可以感受到他是一个认真的人，如此大的一幅山水不露败笔，没有数十年的苦练是无法做到的。不过按照文人画的审美标准来看，这就是盛懋最大的问题。他的画缺少了写的成分，缺少了意趣流露，仅仅是忠于技法，不敢打破严谨的章法。有的时候太认真也成了毛病，这就是绘画最微妙的地方，多了溢出，少了不足，不多不少的时候还要来点儿天然意蕴。",[23,24,25,202,28,118,30,116,115,7,117,61,64,502,38,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ea5388f9614fe1ee0b4705a3c3810e.jpg","31.27×261.62厘米",[124,45],{"id":4979,"slug":4980,"title":4981,"dynasty":223,"author":1533,"museum":20,"description":4982,"tags":4983,"thumbUrl":4984,"material":78,"size":4985,"collection":124,"collections":4986,"showCount":4961,"zanCount":928,"manualWeight":48,"mainColor":128},218435,"qing-lv-shan-shui-juan-wang-jian-218435","青绿山水卷","图中青峰翠岭，连绵起伏，敷色浓艳，皴染分明。色彩富丽的画面散溢出清雅灵秀的气息，令人眼目一新。\n本幅卷尾处，王鉴自题：“余向在董思翁齋頭見趙文敏《鵲華秋色》卷及余家所藏子久《浮嵐遠岫圖》，皆設青綠色，無畫苑習氣。今二卷不知流落何處，時形之夢寐，閑窗息紛，追師兩家筆法而成此圖，雖不敢望古人萬一，庶免近時蹊逕耳。戊戌長夏王鑒。”王鉴曾观赏元代大画家赵孟頫和黄公望的作品，对图画的青绿设色醉心不已。此图卷便是王鉴在61岁时（清顺治十五年，1658年）以青绿设色法绘制而成。\n王鉴的艺术天赋很高，不只专擅水墨山水，对设色画亦驾轻就熟，其中又分青绿、浅绛两种风格。王鉴的青绿山水多题“仿赵令穰”、“仿赵伯驹”、“仿赵孟頫”，因为“三赵”的青绿设色法别有特色，他们在宫廷院体青绿画法中融入了文人画的书卷之气。董其昌对“三赵”的创作手法推崇备至，王鉴早年曾得到董氏亲自指点，耳濡目染，深受启发，后精心习练青绿山水，终有大成。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在体味“三赵”去以往青绿山水之俗艳，使之另具雅淡气质的创作思想，然后施之于画幅上，令其画独存灵逸之趣。王时敏尝称他“以穠丽为宗，然高华秀逸兼而有之”，确是的论。",[23,24,25,26,27,28,30,118,243,7,206,2796,37,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ef4b7b44ba02a41f2afeb11c6d116f.jpg","纵23厘米，横198.7厘米",[124],{"id":4988,"slug":4989,"title":4990,"dynasty":223,"author":381,"museum":382,"description":383,"tags":4991,"thumbUrl":4992,"material":122,"size":389,"collection":179,"collections":4993,"showCount":4994,"zanCount":48,"manualWeight":48,"mainColor":128},214889,"shan-shui-tu-ce-4-shi-tao-214889","山水图册-4",[23,24,114,118,385,119,153,30,64,115,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d80b1de337411d72d248e61d4a115b1.jpg",[],108,{"id":4996,"slug":4997,"title":4998,"dynasty":223,"author":4999,"museum":167,"description":5000,"tags":5001,"thumbUrl":5002,"material":122,"size":5003,"collection":124,"collections":5004,"showCount":4994,"zanCount":48,"manualWeight":48,"mainColor":128},214537,"wu-she-jie-han-tu-yu-sheng-214537","无射戒寒图","余省","这幅画描绘的是九月初九在福海北岸的高阁上游乐的场景，其实高阁只有三四米高，远没有画面上的那么陡峭，所谓的 升天 只是象征性的。",[24,28,29,118,30,62,116,63,64,61,7,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b971ceb4fd2fd33ceb99ce9b77277c4.jpg","180x106.3",[124],{"id":5006,"slug":5007,"title":5008,"dynasty":54,"author":434,"museum":459,"description":5009,"tags":5010,"thumbUrl":5012,"material":808,"size":809,"collection":179,"collections":5013,"showCount":5014,"zanCount":48,"manualWeight":48,"mainColor":985},228412,"wen-shu-pu-sa-zuo-xiang-yi-ming-228412","文殊菩萨坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[24,25,923,29,28,61,30,37,62,7,117,1856,5011,27,59],"古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83145718fc035e6637afa89f6ad83dea.jpg",[],107,{"id":5016,"slug":5017,"title":599,"dynasty":18,"author":2179,"museum":459,"description":3522,"tags":5018,"thumbUrl":5019,"material":28,"size":179,"collection":42,"collections":5020,"showCount":5014,"zanCount":48,"manualWeight":48,"mainColor":49},221441,"shan-shui-tu-li-cheng-221441",[23,24,25,152,114,118,28,30,31,63,64,115,7,244,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[42,124,103],{"id":5022,"slug":5023,"title":5024,"dynasty":18,"author":239,"museum":167,"description":5025,"tags":5026,"thumbUrl":5027,"material":140,"size":5028,"collection":42,"collections":5029,"showCount":5014,"zanCount":928,"manualWeight":48,"mainColor":49},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,25,26,30,118,114,243,7,994,63,64,115,205,74,500,1474,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[42,124,103],{"id":5031,"slug":5032,"title":5033,"dynasty":54,"author":955,"museum":5034,"description":5035,"tags":5036,"thumbUrl":5037,"material":303,"size":5038,"collection":124,"collections":5039,"showCount":5014,"zanCount":48,"manualWeight":48,"mainColor":128},220119,"xi-shan-xian-guan-tu-dong-qi-chang-220119","溪山仙馆图","日本东京国立博物馆","松江出身的董其昌以取代文徴明成为江南画坛主导者为自身抱负。状似舞蹈般的松树形态、如同金属的山石质感都是其画风特色。",[24,152,114,118,30,341,64,7,117,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530a93410dd73894a96859af7573f0a2.jpg","79.40×105.83cm",[124],{"id":5041,"slug":5042,"title":5043,"dynasty":54,"author":110,"museum":485,"description":486,"tags":5044,"thumbUrl":5045,"material":360,"size":490,"collection":179,"collections":5046,"showCount":5014,"zanCount":928,"manualWeight":48,"mainColor":1138},220056,"hu-qiu-shi-er-jing-tu-ce-11-shen-zhou-220056","虎丘十二景图册-11",[23,24,114,59,385,118,30,62,63,61,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6682f58f7558d280563737b5c65e9a.jpg",[],{"id":5048,"slug":5049,"title":3428,"dynasty":18,"author":2179,"museum":459,"description":5050,"tags":5051,"thumbUrl":5052,"material":808,"size":809,"collection":179,"collections":5053,"showCount":105,"zanCount":11,"manualWeight":48,"mainColor":49},288290,"mao-lin-yuan-xiu-tu-li-cheng-288290","《茂林远岫图》描绘的是夏日山水景色，其中峰峦叠翠，奇峰矗立，远山奇峰崛立，空远清旷；近处轻舟泊渡，行人车马往来；中景山谷之间殿阁林立，塔影隐没其中，飞泉水口，如闻其声，如临其境，整幅作品呈现了一派寓闹于静的景致。\n《茂林远岫图》就绘画技法而论，刻画细腻，神形有致；画面构图“三远”法的并用，构景主次疏密的安排等，无不透露出北宋山水画风貌的典型气息。",[23,152,24,25,26,114,118,30,3431,243,7,1375,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232ba5f640d5b6339147fba4ccbde437.jpg",[],{"id":5055,"slug":5056,"title":5057,"dynasty":18,"author":5058,"museum":3521,"description":5059,"tags":5060,"thumbUrl":5063,"material":360,"size":5064,"collection":179,"collections":5065,"showCount":105,"zanCount":11,"manualWeight":48,"mainColor":49},232874,"pan-tao-qing-niao-tu-juan-li-di-232874","蟠桃青鸟图卷","李迪","此幅重色画蟠桃青鸟，用笔应物象形，禽鸟造形精确，蟠桃用没骨画法，枝叶安排妥帖，整体观之，明代宫廷画家所作的可能性大一些。 李迪，生卒年不详。",[23,152,24,25,26,29,28,171,5061,156,7,5062],"桃子","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9c8c8a18311cb4fc28befe1cd47b8a.jpg","38.3x193.2cm",[],{"id":5067,"slug":5068,"title":5069,"dynasty":133,"author":355,"museum":56,"description":5070,"tags":5071,"thumbUrl":5072,"material":122,"size":5073,"collection":124,"collections":5074,"showCount":105,"zanCount":928,"manualWeight":48,"mainColor":49},220427,"su-an-tu-wang-meng-220427","素庵图","作品布局层峦耸峙，岭头山体突兀而拙实，不为奇巧。近坡老松相映，林间草堂呈“四合院”状。全图气象峥嵘，突现山脚下的草堂。此图为精致优雅的浅绛山水画，明净苍秀，在王蒙轴幅作品中较少见。其妙处在两崖逼而为瀑，瀑泉由上而下，长短相间，气贯全幅。\n此图石法用云头皴，不同于《春山读书图》用单纯的解索皴法，也不同于《青卞隐居图》之融数家皴法于一体。黄宾虹评其“笔力劲利而无怒张之态，墨气酣厚而无痴肥之病”，幽深高淡之趣流露于画面之外。观此秋景，又使人联想到吴渔山所说的王蒙浅绛山水“霜红林密，笔笔生动”的特色。王蒙秋景画法较大痴浅绛用色偏重，其近景树干用朱砂点苔，为其他着色山水所未见，另有一番典雅清新别致的审美效果。图中人物及小鹿、仙鹤，造型虽小，皆笔简形具，耐人寻味。图上以小篆题“素庵图”三字，后两行署“黄鹤山樵王蒙为素庵高士画”，笔致雅拙，趣味高古，与画面形成相得益彰的艺术效果。",[23,24,25,152,202,114,28,30,62,64,7,117,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2c770848d5adacc5affe77c66ce6a4.jpg","纵136cm，横45cm",[124,45],{"id":5076,"slug":5077,"title":5078,"dynasty":18,"author":2914,"museum":423,"description":5079,"tags":5080,"thumbUrl":5081,"material":122,"size":179,"collection":44,"collections":5082,"showCount":105,"zanCount":48,"manualWeight":48,"mainColor":49},218541,"zhong-xing-rui-ying-tu-chen-ju-zhong-218541","中兴瑞应图","苍莽绢素间，人马奔涌如沸，旌旗翻卷似火，甲胄冷光与衣袍艳色在青绿底色上跃动。左侧群鸟振翅惊飞，羽翼划破暮霭；右侧峭岩劲松静立，与奔涌的动势形成奇妙张力。笔锋细腻处，鞍马筋肉、人物神情历历可辨；设色古朴中，山水悠远衬出叙事沉厚。奔突的队列藏着热望，翻飞的翎羽似携吉兆，将历史壮阔与人心祈盼凝作绢上流转的光影——每一处细节都在诉说那段岁月里，对“中兴”的期盼与激昂，让沉厚的过往在笔墨间鲜活如初。",[24,29,28,61,90,156,30,7,1420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0604cba49667b67c7ec636b0895bcd.jpg",[44,45],{"id":5084,"slug":5085,"title":2219,"dynasty":18,"author":434,"museum":423,"description":5086,"tags":5087,"thumbUrl":5088,"material":78,"size":5089,"collection":124,"collections":5090,"showCount":105,"zanCount":666,"manualWeight":48,"mainColor":49},217066,"chun-shan-xing-lv-tu-yi-ming-217066","春山行旅图是宋朝（960-1279年）佚名的一幅山水画作品。这幅画描绘了一位旅人在春天游览山水的景象。画面中的景色十分优美，充满了生机和活力。画中的山峰高耸，水流清澈，树木茂密，空气清新。整幅画浓烈的山水意境，清新自然的画风，使得这幅画在当时颇受欢迎，被认为是一幅杰出的艺术作品。",[24,25,475,118,28,341,7,63,62,117,61,64,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ab87eb107c3ff0a2caa7861e5582bd.jpg","104x51cm",[124],{"id":5092,"slug":5093,"title":5094,"dynasty":620,"author":3956,"museum":20,"description":5095,"tags":5096,"thumbUrl":5097,"material":100,"size":5098,"collection":124,"collections":5099,"showCount":5100,"zanCount":48,"manualWeight":48,"mainColor":128},221160,"gao-shi-tu-juan-wei-xian-221160","高士图卷","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。\n此图曾经宋周密《云烟过眼录》，明张丑《清河书画舫》、清孙承泽《庚子销夏记》、安岐《墨缘汇观》、《石渠宝笈·续编》、阮元《石渠随笔》等书著录，是一件递藏有绪、鉴定界公认的五代卫贤真迹。",[23,24,29,59,28,118,30,61,62,7,244,70,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd234cb19159b5ecad6fb82a14b63fd9.jpg","纵134.5厘米，横52.5厘米。",[124,103],105,{"id":5102,"slug":5103,"title":5104,"dynasty":990,"author":2844,"museum":423,"description":5105,"tags":5106,"thumbUrl":5107,"material":140,"size":5108,"collection":124,"collections":5109,"showCount":5100,"zanCount":48,"manualWeight":48,"mainColor":49},221101,"jing-ji-rui-xue-tu-li-si-xun-221101","京畿瑞雪图","本幅无款识，右裱边项子京题：“唐云麾将军李思训画京畿瑞雪图，宋宣和御府藏物也，定为神品第一。\n古胥山樵项圣谟获于梅花和尚塔前，得秘玩焉，百金亦勿与易。\n” 扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。\n这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。\n正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。\n在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。\n有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[23,27,28,59,30,62,7,117,818,156,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2334ec9cbe1a44a99cc3ae230e4e85.jpg","纵42.7cm，横45.2cm",[124,45],{"id":5111,"slug":5112,"title":5113,"dynasty":1743,"author":5114,"museum":5115,"description":5116,"tags":5117,"thumbUrl":5118,"material":5119,"size":179,"collection":179,"collections":5120,"showCount":5100,"zanCount":48,"manualWeight":48,"mainColor":128},220579,"fu-chun-jiang-feng-guang-huang-bin-hong-220579","富春江风光","黄宾虹","Smithsonian's National Museum of Asian Art","此作以渴笔焦墨写层叠峰峦，苍劲朴拙，云烟留白虚实相生，铺展出山居的清幽深远。近景村居错落隐于林木间，扁舟泛江，野趣盎然。题画诗与笔墨浑然一体，浑厚华滋中带着疏朗灵秀，将山水静穆与生机相融，尽显山川浑厚、草木华滋的典型风貌。黑密厚重的积墨之法，勾勒江峰奇崛挺拔，留白处氤氲水汽，整幅画刚柔并济，于朴茂中见秀逸，藏万千丘壑于尺幅间，将山水的幽隽诗意娓娓道来，笔底晕染出静谧悠然的山居意趣。",[24,114,118,30,115,116,7,117,64,25,202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a79877bcd55fa426bfd1b6ba2533842.jpg","Ink and color on paper",[],{"id":5122,"slug":5123,"title":5124,"dynasty":223,"author":381,"museum":382,"description":383,"tags":5125,"thumbUrl":5126,"material":122,"size":389,"collection":179,"collections":5127,"showCount":5100,"zanCount":48,"manualWeight":48,"mainColor":128},214888,"shan-shui-tu-ce-5-shi-tao-214888","山水图册-5",[23,24,114,28,385,118,30,62,7,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c7502bb24d845dbe3fdcd70b9b300d.jpg",[],{"id":5129,"slug":5130,"title":5131,"dynasty":18,"author":434,"museum":459,"description":5132,"tags":5133,"thumbUrl":5135,"material":40,"size":5136,"collection":179,"collections":5137,"showCount":5138,"zanCount":11,"manualWeight":48,"mainColor":49},223374,"feng-huang-tu-zhou-yi-ming-223374","凤凰图轴","图上一只蓝翎凤凰立于花丛中，红冠鲜艳，眼神威严、犀利，羽毛七彩斑斓，尾翎修长，单脚站立彰显百鸟之王的尊贵；四周牡丹盛开，花团锦簇，丹顶鹤、鸳鸯数只陪伴左右。此幅无款无印，应出自宫廷画家之手，宫廷风格甚浓。",[23,152,24,202,29,28,171,4566,1620,5134,567,7,156],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b738fbba9f87096a63c79173451352a.jpg","92x43cm",[],104,{"id":5140,"slug":5141,"title":5142,"dynasty":223,"author":5143,"museum":20,"description":5144,"tags":5145,"thumbUrl":5149,"material":5150,"size":5151,"collection":44,"collections":5152,"showCount":5138,"zanCount":467,"manualWeight":48,"mainColor":49},222874,"bai-zi-tu-leng-mei-222874","百子图","冷枚","百子的典故最早出于《诗经》，是歌颂周文王子孙众多的。画面常用谐音谐意，寓意多福多寿，多子多孙，子孙昌盛，万代延续。《百子图》描绘了一百个天真烂漫的孩子在亭台楼阁间互相追逐嬉戏，他们有的手执彩旗，好像在站岗放哨，还有的在捉迷藏、打秋千、下棋、乘船、玩木偶、放鞭炮…每个孩子神态各异，无一雷同，惟妙惟肖，栩栩如生。孩童服饰色泽艳丽，线条流畅，刻画精致形像都各不相同，表情天真可爱，十分有趣，将小孩的调皮可爱之处都表现得淋漓尽致。背景配以湖水荡漾，荷花盛开，岸柳垂荫，芭蕉葱郁，古木森天景色；将亭台、楼阁、水榭、宫室，因地制宜，聚散错落，一应纳入，园林界画，景色秀丽，令人应接不暇。\n笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔法极精细。绘画用料为内廷专供，尤其色料多为专用的矿物制品，色泽鲜艳明丽，特征明显，是典型的宫廷题材珍品。\n通篇气度雍容典雅，构图疏密有致，其用笔细腻、精工，设色妍丽清秀而注意质感，不乏对光影明暗的追求与立体透视的体现，显然受到西洋绘画技巧的影响",[23,29,28,26,61,116,62,2246,2193,880,7,173,70,5146,5147,69,5148],"荷叶","儿童","桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80e3fe3947e693b07fbefa84c8d0fd0.jpg","设色，绫本，手卷","纵40厘米，横200厘米",[44],{"id":5154,"slug":5155,"title":5156,"dynasty":18,"author":5157,"museum":3752,"description":5158,"tags":5159,"thumbUrl":5162,"material":415,"size":5163,"collection":42,"collections":5164,"showCount":5138,"zanCount":467,"manualWeight":48,"mainColor":49},221353,"zhen-tong-kui-lei-tu-su-han-chen-221353","侲童傀儡图","苏汉臣","本画署款苏汉臣所作，苏汉臣（1094―1172），汴梁（今河南开封）人，宋代宫廷画家，历徽宗、高宗、孝宗三朝。苏汉臣画师刘宗古，善画仙佛人物，尤以婴戏图题材最为著名。苏汉臣在宋代画家中以画儿童婴戏著称，因此后世凡见宋人无款婴戏图常题苏汉臣作用来提高画的价值。宋朝社会流行木偶戏，宋人称之为“傀儡戏”，同时傀儡也被制成了儿童的玩具。本幅苏汉臣所画的《侲童傀儡图》描绘的正是三个小童在玩“杖头傀儡”的场景。作者笔下的小童神情专注，笔法简洁细劲，设色典雅。石色的使用最忌板滞轻浮，而本画中的石色明丽沉稳，堪称典范。图中假山的画法与宋徽宗《祥龙石图》如出一辙，阴阳凹凸皆以龙麟状的墨块点画而成，这与南宋院体画喜用小斧劈皴不同。这也在一定程度上反映了作者传承的是北宋宣和院体画风。",[23,152,24,29,28,61,5147,5160,7,5161],"傀儡","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128d6f14c797843ff768db6c9441c208.jpg","23.6×23.2cm",[42,44,45],{"id":5166,"slug":5167,"title":5168,"dynasty":54,"author":955,"museum":20,"description":5169,"tags":5170,"thumbUrl":5171,"material":140,"size":5172,"collection":124,"collections":5173,"showCount":5138,"zanCount":11,"manualWeight":48,"mainColor":128},220952,"lin-he-jing-shi-yi-tu-dong-qi-chang-220952","林和靖诗意图","《林和靖诗意图》轴，明，董其昌绘，纸本，墨笔，纵88.7 厘米，横38.7厘米。\n\n本幅署题二 ，右上自题七言诗一首：“山水未深鱼鸟少，此生还拟重移居。只应三竺溪流上，独木为桥小结庐。写和靖诗意。玄宰，甲寅二月廿二日雨窗识”。下钤“董其昌印”白文印。左上又题云：“元时倪云林、王叔明皆补此诗意，惟黄子久未之见，余以黄法为此。玄宰重题，辛酉三月。”下钤“董其昌印”朱文印。此图作于明万历四十二年（1614年），时董氏60岁，明天启元年（1621年）三月67岁时重题。\n\n此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。\n\n鉴藏印左下角钤“高詹事”白文印、“竹窗”朱文印”、“偶为潘省安所有”朱文印、“嘉兴王逢辰藏”朱文印、“惕庵心赏”朱文印，右下角钤“华源草堂”白文印、“小琴鉴赏”白文印、“张照之印”白文印，右上方钤“曾在徐颂鱼处”朱文印、“阮氏琅嬛仙馆收藏印”朱文印。",[23,24,25,114,118,120,153,202,30,7,63,64,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10860b979500f162ed912af1de7ff67.jpg","纵：154.4厘米，横：64.2厘米",[124,103],{"id":5175,"slug":5176,"title":30,"dynasty":1743,"author":1744,"museum":5177,"description":5178,"tags":5179,"thumbUrl":5180,"material":179,"size":179,"collection":179,"collections":5181,"showCount":5138,"zanCount":928,"manualWeight":48,"mainColor":128},220477,"shan-shui-fu-bao-shi-220477","中央美术学院美术馆","此作用笔秀润，设色雅致，以烟岚晕染远山，黛色层叠间漾出空濛秋意。中景丹枫与青松交错，赭石铺就秋山暖调，村居隐于林麓，野趣横生。近畔水榭临流，凭栏二人闲对，静赏天光云影，将秋日江村的幽寂闲恬铺陈开来。题画诗与笔墨相映，文心入画，将文人寄情山水、栖居林泉的诗意愿景藏于尺幅之间，观之如临清秋江村，尽揽山居雅趣。",[24,28,118,30,62,7,500,2808,968,540,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d127d461e95daec85dc02446a8bd1d.jpg",[],{"id":5183,"slug":5184,"title":5185,"dynasty":223,"author":472,"museum":167,"description":5186,"tags":5187,"thumbUrl":5188,"material":78,"size":5189,"collection":124,"collections":5190,"showCount":5138,"zanCount":48,"manualWeight":48,"mainColor":128},219653,"song-yan-jing-le-tu-wang-shi-min-219653","松岩静乐图","烟客画山水，宗法元四家，晚年尤倾力黄公望，逐入痴翁堂奥，巽笔湿笔，自具心裁。此为七十九岁老年之作，笔墨犹不脱秀润之色。",[24,28,118,30,540,117,64,7,35,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485b1637050632062640af0dec5e5eb.jpg","168x76.3",[124],{"id":5192,"slug":5193,"title":5194,"dynasty":18,"author":944,"museum":167,"description":5195,"tags":5196,"thumbUrl":5197,"material":78,"size":5198,"collection":124,"collections":5199,"showCount":5138,"zanCount":467,"manualWeight":48,"mainColor":49},218527,"yu-wang-zhi-shui-tu-zhao-bo-ju-218527","禹王治水图","大禹治水（鲧禹治水）是中国上古时期大禹治理大洪水的传说。此《禹王治水图》卷传为南宋画家赵伯驹绘。画卷为青绿描金，其主题内容为大禹治水采用凿岭开山、决江济川，疏导方式治理水患的故事。卷末附元代文学家虞集书《禹贡》。此卷现藏于台北故宫博物院。",[23,152,24,25,26,27,28,61,30,29,117,32,7,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1730ee5c62d100c4fdf05af2481cfa4b.jpg","30.5x373cm",[124],{"id":5201,"slug":5202,"title":2975,"dynasty":620,"author":2655,"museum":459,"description":2976,"tags":5203,"thumbUrl":5204,"material":808,"size":809,"collection":179,"collections":5205,"showCount":5206,"zanCount":928,"manualWeight":48,"mainColor":49},283688,"qiu-shan-wan-cui-tu-guan-tong-283688",[23,152,24,25,202,114,28,30,2042,117,7,243,204,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74413aeaf6fe0fbb9e4679e693b6af8.jpg",[],103,{"id":5208,"slug":5209,"title":5210,"dynasty":18,"author":198,"museum":167,"description":5211,"tags":5212,"thumbUrl":5214,"material":140,"size":5215,"collection":42,"collections":5216,"showCount":5206,"zanCount":48,"manualWeight":48,"mainColor":49},221393,"qiu-lin-fei-pu-zhou-fan-kuan-221393","秋林飞瀑轴","图绘秋山栈道瀑布流泉，远处岩关列岫隐约可见，气势磅礴，景色宜人。",[23,152,24,25,202,118,114,30,1158,5213,244,206,7,477],"飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab091b4703f6d101e17af7a9a05d6d.jpg","纵：181厘米，横：99.5厘米",[42,124,103],{"id":5218,"slug":5219,"title":5220,"dynasty":54,"author":955,"museum":56,"description":5221,"tags":5222,"thumbUrl":5223,"material":360,"size":3887,"collection":124,"collections":5224,"showCount":5206,"zanCount":48,"manualWeight":48,"mainColor":128},220344,"fang-mi-fei-shan-shui-tu-juan-dong-qi-chang-220344","仿米芾山水图卷","“画家初以古人为师，后以造化为师”——先古人、后造化，作为学习中国画的基本程序，这并非董其昌的发明，而是由来已久的传统。这一程序的合理与否姑且不论，我们所要讨论的是，在古人与造化面前，董其昌是如何认识到并揭示出审美关系中“我”的主体性的。",[152,24,25,26,114,30,118,117,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9110a3b8272916474ce78d43f4cf6a08.jpg",[124,1822],{"id":5226,"slug":5227,"title":5228,"dynasty":18,"author":5229,"museum":167,"description":5230,"tags":5231,"thumbUrl":5234,"material":78,"size":5235,"collection":42,"collections":5236,"showCount":5206,"zanCount":48,"manualWeight":48,"mainColor":49},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[23,152,24,25,26,28,29,30,63,64,91,7,5232,5233,156,116],"农舍","农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[42,124],{"id":5238,"slug":5239,"title":5240,"dynasty":54,"author":110,"museum":485,"description":486,"tags":5241,"thumbUrl":5242,"material":360,"size":490,"collection":179,"collections":5243,"showCount":5206,"zanCount":928,"manualWeight":48,"mainColor":128},220062,"hu-qiu-shi-er-jing-tu-ce-5-shen-zhou-220062","虎丘十二景图册-5",[23,2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National Museum","这幅作品跳脱山水旧法，以斩截刚劲的线条将山峦拆解为方正硬朗的几何岩体，块面堆叠出雄浑厚重的山野气势，全无传统皴法的柔婉，自带稚拙刚健的力量感。\n浅勾淡染的云气柔化山石冷硬，山坳中隐现的屋舍晕开山居悠然意趣。下方枯林以极简枝桠舒展，疏清淡雅，与上部重峦形成疏密对照。\n它以全新造型重构山水意境，将笔墨的写意精神，融于现代感的视觉表达，于朴拙间开创出别具一格的山水新风貌。",[24,114,202,118,30,117,7,37,35,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c9a3dc4e5e42b53615a5f03733ed05.jpg",[],{"id":5307,"slug":5308,"title":5309,"dynasty":18,"author":434,"museum":167,"description":5310,"tags":5311,"thumbUrl":5312,"material":78,"size":5313,"collection":42,"collections":5314,"showCount":5286,"zanCount":928,"manualWeight":48,"mainColor":128},218883,"xian-guan-nong-hua-tu-yi-ming-218883","仙馆秾花图","亭台楼阁错落有致，木构窗棂细密精巧，飞檐翘角带着宋式建筑的清雅韵味。阁内数人或对坐清谈，或凭栏远眺，衣袂轻扬间透着闲适散淡；阶下一人缓步小径，似在赏玩周遭景致。苍松倚石而立，枝叶遒劲，庭院间花木点缀，山石错落，笔墨细腻却不失灵动，悄然铺展宋人的雅致生活图景。画面静谧温润，细节处见匠心，仿佛能窥见千年前那方庭院里的悠然时光，尽显宋代文人雅士的生活意趣与审美追求。",[23,24,28,59,29,385,61,62,7,4473,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973f9d56457127b7ab4280a85457e24c.jpg","26.4x27.2",[42],{"id":5316,"slug":5317,"title":5318,"dynasty":133,"author":636,"museum":167,"description":5319,"tags":5320,"thumbUrl":5321,"material":555,"size":5322,"collection":124,"collections":5323,"showCount":5286,"zanCount":48,"manualWeight":48,"mainColor":128},218763,"xi-liu-gui-ting-tu-wu-zhen-218763","溪流归艇图","这幅画作于至正二年（公元1342年），当时他已经63岁了。溪流来回蜿蜒，森林茂密而阴凉。笔触强烈而浑厚，墨层清晰。纸张磨损严重",[23,24,25,114,118,30,64,115,63,117,7,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71089dbec8ab8f57de8f53bf2bd0a54.jpg","44x26.7",[124],{"id":5325,"slug":5326,"title":5327,"dynasty":18,"author":3595,"museum":459,"description":5328,"tags":5329,"thumbUrl":5331,"material":78,"size":179,"collection":45,"collections":5332,"showCount":5286,"zanCount":928,"manualWeight":48,"mainColor":49},218660,"he-ting-na-liang-tu-zhao-ling-rang-218660","荷亭纳凉图","亭畔柳丝轻垂如帘，半掩着凭栏闲坐的身影。池中荷叶片片叠翠，粉白的花影在微风里轻晃，似与远处烟霭中的山峦遥遥对语。远山以淡墨晕染，隐在薄云与江雾间，江天浩渺处，几只水鸟掠过，更添空寂。近景的石径、矮墙与草木，笔墨细腻却不繁冗，色彩温润如旧时光里的浅茶。整幅画没有燥热的夏意，只有风过荷塘的清凉与文人的从容——仿佛能听见荷叶上的露水滴落，也能看见那人眼中的江天辽阔。宋人的雅致与诗意，就这样凝在这一方圆幅里，淡而悠长，静而生动。",[23,152,24,25,28,29,30,61,116,5330,2193,7,156,3598],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79a4b33df725714b75d1cedff8520f.jpg",[45],{"id":5334,"slug":5335,"title":5336,"dynasty":223,"author":1533,"museum":167,"description":5337,"tags":5338,"thumbUrl":5339,"material":78,"size":5340,"collection":124,"collections":5341,"showCount":5342,"zanCount":11,"manualWeight":48,"mainColor":128},224486,"xi-shan-shen-xiu-zhou-wang-jian-224486","溪山深秀轴","汇集画家王鉴先生山水画数幅，淋漓尽致地表现出其雄奇、或秀美、或舒缓、或险峻。是伟岸的山，壮丽的山。主要有秋山图轴、溪山深秀图轴、山水册七开、九峰读书图轴、四家灵气图轴等",[23,24,152,25,202,28,27,30,62,63,64,204,243,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89fec13b5a42f7febcb1462f7f1ba47.jpg","161.7x62.5",[124],101,{"id":5344,"slug":5345,"title":5346,"dynasty":223,"author":325,"museum":167,"description":3966,"tags":5347,"thumbUrl":5349,"material":415,"size":3970,"collection":124,"collections":5350,"showCount":5342,"zanCount":928,"manualWeight":48,"mainColor":1138},222764,"shi-er-yue-ling-tu-5-yue-lang-shi-ning-222764","十二月令图（5月）",[23,24,25,202,29,28,59,61,62,30,89,7,64,63,676,117,1621,5348],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a452b4eda86eac0e610effee7ff9a62.jpg",[124,45],{"id":5352,"slug":5353,"title":5354,"dynasty":54,"author":55,"museum":20,"description":733,"tags":5355,"thumbUrl":5362,"material":40,"size":738,"collection":179,"collections":5363,"showCount":5342,"zanCount":48,"manualWeight":48,"mainColor":49},222195,"ren-wu-gu-shi-tu-gao-shan-liu-shui-chou-ying-222195","人物故事图-高山流水",[23,24,2244,5356,28,5357,5213,5358,64,116,7,274,5359,5360,5361],"工笔重彩","高山","松林","知音","高山流水","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67ca6c35996e488c7d2585cfe17e4a3.jpg",[],{"id":5365,"slug":5366,"title":5367,"dynasty":133,"author":1837,"museum":111,"description":5368,"tags":5369,"thumbUrl":5373,"material":78,"size":5374,"collection":44,"collections":5375,"showCount":5342,"zanCount":928,"manualWeight":48,"mainColor":49},219618,"bai-chi-wu-tong-tu-zhao-meng-fu-219618","百尺梧桐图","此作以淡逸青绿晕染出林下幽居之景，古木荫蔽临水轩馆，主人凭案静坐，似在沉湎遐思，侧室侍童悄然研墨，檐下光影清和。篱桥婉转接引溪岸，携琴小童缓步入园，将访友雅事暗藏画中。\n笔致清简柔润，设色浅淡雅致，无浓艳堆砌，只以平和色调晕染出草木山石的温润质感，将文人幽居的恬然意趣尽数铺展。画面不见喧嚣，只余林下静穆闲雅，把文人心中的隐逸栖居，定格成一段安然自持的慢时光，淡韵悠长，余味清远。",[24,28,29,912,4901,61,116,7,624,117,411,173,69,5370,5371,5372],"地面","栅栏","远人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0d2d1313c377cfccc6bd8b50026170.jpg","29.5x59.7厘米",[44],{"id":5377,"slug":5378,"title":5379,"dynasty":18,"author":434,"museum":978,"description":5380,"tags":5381,"thumbUrl":5386,"material":78,"size":5387,"collection":42,"collections":5388,"showCount":5342,"zanCount":11,"manualWeight":48,"mainColor":49},218506,"gui-qu-lai-ci-shu-hua-tu-yi-ming-218506","归去来辞书画图","在画卷中，最后两部分的文字和图画已经消失了，每幅画的顶部和底部都被切掉了几厘米。在1920年从日本收购之前，这幅画一直被认为是后来的复制品，启功、傅斯年等专家也证实，这幅画的书法是南宋孝宗所写，画风也与孝宗的风格一致。这两个缺失的部分可以从弗里尔收藏的陶渊明的早期画作中重现，归功于李公麟，但两者在手法上有很大不同，前者更古朴，没有作者气质，而后者则更精致，更漂亮。",[23,24,25,26,28,29,119,61,30,116,63,64,115,7,62,5382,5383,5384,5385],"笔","墨",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画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[23,24,152,25,26,114,118,120,119,153,30,117,7,204,5536,115,37,243,502],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[124],{"id":5541,"slug":5542,"title":5543,"dynasty":54,"author":5544,"museum":382,"description":5545,"tags":5546,"thumbUrl":5547,"material":303,"size":5548,"collection":44,"collections":5549,"showCount":5485,"zanCount":48,"manualWeight":48,"mainColor":49},219507,"liu-min-tu-wu-wei-219507","流民图","吴伟","“流民图”这个概念，可以追溯至文献中记载的北宋郑侠《流民图》，也即一种讽喻社会阴暗面的政治寓言。",[23,152,24,25,26,114,437,61,30,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ee54b264cb8fd4942f81dde5e61dca.jpg","纵38.5横546.5厘米",[44,103],{"id":5551,"slug":5552,"title":5553,"dynasty":18,"author":827,"museum":3521,"description":5554,"tags":5555,"thumbUrl":5556,"material":140,"size":5557,"collection":42,"collections":5558,"showCount":5559,"zanCount":48,"manualWeight":48,"mainColor":49},226547,"zhong-li-fang-dao-tu-li-zhou-jing-hao-226547","钟离访道图立轴","荆浩（约850-？），字浩然，号洪谷子，山西沁水人，五代后梁画家，尊为北方山水画派之祖。因避战乱，常年隐居太行山 。\n擅画山水，师从张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。\n作品还有《匡庐图》《雪景山水图》等。",[23,24,25,202,30,114,118,243,7,204,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfeda2c3d81e5d88a5c1c4a715b747f.jpg","147×74.8厘米",[42,124,103],97,{"id":5561,"slug":5562,"title":5563,"dynasty":18,"author":671,"museum":5564,"description":5565,"tags":5566,"thumbUrl":5567,"material":1410,"size":5568,"collection":179,"collections":5569,"showCount":5559,"zanCount":928,"manualWeight":48,"mainColor":49},223341,"yun-qi-lou-tu-mi-fei-223341","云起楼图","赛克勒美术馆","画中“云起楼图”题字，确为明董其昌真迹，非常珍贵。\n米芾最擅长的是以笔墨点染的方式描绘江南山水，本件《云起楼图》是典型的“米氏云山”的传统，在技法上，采用江南画家董源、巨然的传统，以苔墨点与晕染来画圆弧形的山峦，让山水形象融合在一片雾气中，特别具有抒情的韵味。\n画面约中景处，丘陵顶端有一两座院落，下可眺望江景，远观则为烟云变幻的山峦。这让人联想起米芾位于润州（江苏镇江）北固山的故居“海岳庵”，附近有名胜“甘露寺”与“多景楼”，米芾时常登览赋诗（例如《秋暑憩多景楼诗》），浏览江南云雾变化的景致。米芾之子米友仁的《潇湘奇观卷》亦是描绘“海岳庵”一带的山川景色。米芾润州家居的景观，成为创作云山图最重要的题材之一。\n近景亦以类似的墨点图写前后两排的松木，墨色稍浓，其间及其与远山间，仍以烟云留白的技法分隔空间，与整幅图表达空间层次感的幽缈之意相映成趣。其山木树石的风格似乎可从董源处寻其渊源。除此之外，米芾“以山水古今相师”，即融合古人技法与对自然山水的体悟成一家，风格独特，故世称“大米”。\n这幅又作《天降时雨图》，画家巧妙地运用“烟云掩映”的技法，分隔远山与松木之间的空间感，尤其是墨点晕染的圆转山头，可见其山顶积墨浓重、表现阴影，山腰以下则没人淡墨晕染的烟云中，仿佛连绵的山峦出入云霭间，幽缈、空远。",[23,24,114,30,881,7,118,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104b03b59e1d79cc0c5f6fda4b889ce9.jpg","150cm×78.8cm",[],{"id":5571,"slug":5572,"title":5573,"dynasty":54,"author":4230,"museum":266,"description":5574,"tags":5575,"thumbUrl":5577,"material":122,"size":5578,"collection":124,"collections":5579,"showCount":5559,"zanCount":48,"manualWeight":48,"mainColor":128},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[23,24,25,26,114,28,30,118,639,115,156,579,64,117,5576,462,116,7],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 741.7",[124,45],{"id":5581,"slug":5582,"title":5583,"dynasty":223,"author":4731,"museum":111,"description":5584,"tags":5585,"thumbUrl":5586,"material":78,"size":5587,"collection":124,"collections":5588,"showCount":5559,"zanCount":928,"manualWeight":48,"mainColor":49},218727,"shui-dian-chun-shen-tu-yuan-jiang-218727","水殿春深图","袁江字文涛，号岫泉。清代宫廷画家，专工山水楼阁界画。\u2028 袁的画法继承宋代宫廷画的风格，结实、工细，体积感强。并能把雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，既精细入微，又气势磅礴，有力地提高了“界画”的表现能力，被推为清代“界画”第一。",[24,25,202,59,28,29,62,399,7,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541a38c45bc135a29e893993570190f9.jpg","纵104厘米，横49.5厘米",[124,45],{"id":5590,"slug":5591,"title":5592,"dynasty":54,"author":5593,"museum":423,"description":5594,"tags":5595,"thumbUrl":5596,"material":303,"size":179,"collection":124,"collections":5597,"showCount":5559,"zanCount":928,"manualWeight":48,"mainColor":49},217058,"chun-shan-pian-zhou-tu-yao-sui-217058","春山扁舟图","姚绥","姚绥是明朝的一位著名画家，他的作品《春山扁舟图》是一幅典型的山水画，描绘了一段美好的春天，山峦翠绿，水面波光粼粼，扁舟悠然自得地漂流在江中。图中的山水景色清新宜人，构图简洁大方，笔墨流畅自然，是姚绥非常优秀的代表作。",[24,114,118,30,115,64,204,7,117,61,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d7c3ea94eed15c56d67aa937bbc39c.jpg",[124],{"id":5599,"slug":5600,"title":5601,"dynasty":54,"author":955,"museum":111,"description":1470,"tags":5602,"thumbUrl":5603,"material":122,"size":179,"collection":179,"collections":5604,"showCount":5559,"zanCount":48,"manualWeight":48,"mainColor":985},214658,"qiu-xing-ba-jing-tu-ce-1-dong-qi-chang-214658","秋兴八景图册-1",[912,114,28,30,2869,7,385,118,228,117,2223,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10dabbb12a6134bd0b3af4b7144fde3e.jpg",[],{"id":5606,"slug":5607,"title":5608,"dynasty":223,"author":5609,"museum":20,"description":5610,"tags":5611,"thumbUrl":5613,"material":415,"size":5614,"collection":44,"collections":5615,"showCount":5616,"zanCount":48,"manualWeight":48,"mainColor":128},236148,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236148","冷枚养正图书合册","张若霭","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[29,28,61,7,5612,411,70,760],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506aab7253e1dccbdeebb1a3e5f16af2.jpg","纵三二·二厘米 横四二·三厘米",[44,45],96,{"id":5618,"slug":5619,"title":5620,"dynasty":620,"author":771,"museum":459,"description":5621,"tags":5622,"thumbUrl":5623,"material":179,"size":179,"collection":179,"collections":5624,"showCount":5616,"zanCount":48,"manualWeight":48,"mainColor":49},227263,"dong-bei-yuan-xi-shan-xing-lv-tu-li-zhou-dong-yuan-227263","董北苑溪山行旅图立轴","董源（生卒年不详），字叔达，洪州钟陵（今江西省进贤县钟陵乡）人。五代绘画大师，南派山水画开山鼻祖，与李成、范宽，并称“北宋三大家”。\n南唐时期，曾任北苑副使，人称“董北苑”。南唐灭亡后，进入北宋。擅于山水画，兼工人物、禽兽。其山水初师荆浩，笔力沉雄，后以江南真山实景入画，不为奇峭之笔。疏林远树，平远幽深，皴法状如麻皮，后人称为“披麻皴”。山头苔点细密，水色江天，云雾显晦，峰峦出没，汀渚溪桥，率多真意。“平淡天真，唐无此品”（米芾）。\n存世作品有《夏景山口待渡图》《潇湘图》《夏山图》《溪岸图》《寒林重汀图》《龙宿郊民图》《平林霁色图卷》等。",[23,24,25,152,202,114,118,30,7,63,64,35,61,117,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce14da05caf0e1610bf356168685eed.jpg",[],{"id":5626,"slug":5627,"title":5628,"dynasty":133,"author":636,"museum":56,"description":5629,"tags":5630,"thumbUrl":5632,"material":360,"size":5633,"collection":124,"collections":5634,"showCount":5616,"zanCount":666,"manualWeight":48,"mainColor":128},220782,"lu-tan-diao-ting-tu-wu-zhen-220782","芦滩钓艇图","《芦滩钓艇图卷》（现藏大都会）使吴镇享有萌画家的地位，此一点无论是国内抑或海外的艺术评论意见均颇统一。纠其原因，则是画中原本仅作为点缀的人物在画家的笔下呈现“卡通式”的形象，这一夺景的表现，并未使画作的立意失衡，而是呈现出别样的意趣来，无论是大都会所藏，还是弗利尔所藏的其他数幅吴镇所绘的“渔父图”皆是充满趣味性的形象。然我们知道其部分渔父形象的作品为仿荆浩，虽然很难再找见荆浩创作的渔父形象（可确证的）。但从台北故宫博物院所藏的北宋画家范宽之《溪山行旅图》进行观察（范早期习荆浩、李成，而该画作恰恰是习荆浩的），不难发现——吴镇画中之“渔父”形象与范宽画中的“渔父”形象，两者间颇有关联性（虽范宽的作品已较模糊，然从船体与人物构造观，尚可发现有其相通之处），故此种“卡通式”的“渔父”形象，许于唐未的荆浩画中，已形成其旨趣，只是后人不觉，皆将吴镇视为萌家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[23,24,25,114,118,228,30,115,64,7,1376,4191,462,5631,1290],"滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a6f1b399c367170da229c11d740f5.jpg","39x65",[124,103],{"id":5636,"slug":5637,"title":5638,"dynasty":223,"author":3836,"museum":266,"description":3837,"tags":5639,"thumbUrl":5640,"material":360,"size":3840,"collection":179,"collections":5641,"showCount":5616,"zanCount":928,"manualWeight":48,"mainColor":49},214354,"san-jue-shan-shui-ce-7-hua-yan-214354","三绝山水册-7",[23,24,114,28,385,118,30,289,7,61,500,1390,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6649a7f927eb2299be006731defc02c.jpg",[],{"id":5643,"slug":5644,"title":5645,"dynasty":133,"author":5646,"museum":167,"description":5647,"tags":5648,"thumbUrl":5650,"material":122,"size":5651,"collection":331,"collections":5652,"showCount":5653,"zanCount":11,"manualWeight":48,"mainColor":49},218661,"dong-yuan-zai-jiu-tu-cao-zhi-bai-218661","东园载酒图","曹知白","这幅画画的是曹知白自己在采芝窝的隐居地，山川秀丽，笔墨温润，思想极为高雅明朗，使之成为曹氏山水画的精品。",[23,152,24,25,202,114,118,5649,30,117,7,62,69],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4e4c7f20f69be119e1b5cb8d07c1f7.jpg","97.1x54.8cm",[331],95,{"id":5655,"slug":5656,"title":5657,"dynasty":18,"author":298,"museum":459,"description":5658,"tags":5659,"thumbUrl":5660,"material":303,"size":5661,"collection":44,"collections":5662,"showCount":5653,"zanCount":11,"manualWeight":48,"mainColor":128},214915,"xiao-jing-tu-juan-li-gong-lin-214915","孝经图卷","孝经图卷是宋朝时期李公麟所绘的一幅图画，作品名为《孝经图》。该图画记录了中国传统文化中关于孝道的理论。孝道是中国传统文化中的一个重要概念，指的是尊敬父母、敬老尊贤的道德行为。《孝经图》是一幅巨大的图画，长约10米，宽约1.5米，由李公麟于宋朝初年绘制。该图画分为上下两部分，上部是一幅描绘中国传统孝道理论的巨幅图画，下部是记录了关于孝道的文字记录。《孝经图》是一件重要的文化遗产，对于了解中国传统文化中孝道的概念和内涵有着重要的意义。",[23,152,24,25,26,437,114,61,62,63,64,153,90,116,117,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdceb66d0489c2d2fba02cb93a6f500.jpg","21.9x475.6",[44],{"id":5664,"slug":5665,"title":5666,"dynasty":223,"author":1310,"museum":167,"description":5667,"tags":5668,"thumbUrl":5669,"material":78,"size":5670,"collection":124,"collections":5671,"showCount":5653,"zanCount":11,"manualWeight":48,"mainColor":49},214810,"qing-feng-tu-tang-dai-214810","庆丰图","这是一幅典型的清代风格的庭院画，描绘了新建的凤仪城，其大厅宏伟，市场井然有序，色彩美丽。",[23,24,27,28,30,62,61,7,243,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae9375823b07d0753215b6cf25b5637.jpg","393.6x234",[124],{"id":5673,"slug":5674,"title":5675,"dynasty":223,"author":3937,"museum":459,"description":5676,"tags":5677,"thumbUrl":5678,"material":179,"size":179,"collection":124,"collections":5679,"showCount":5680,"zanCount":48,"manualWeight":48,"mainColor":128},237614,"hong-ren-shan-shui-ce-hong-ren-237614","弘仁山水册","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[24,25,114,118,385,120,153,30,289,4677,204,341,342,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[124,103],94,{"id":5682,"slug":5683,"title":5684,"dynasty":223,"author":381,"museum":20,"description":5685,"tags":5686,"thumbUrl":5688,"material":360,"size":5689,"collection":179,"collections":5690,"showCount":5680,"zanCount":928,"manualWeight":48,"mainColor":128},233956,"yuan-ji-shan-shui-heng-zhou-shi-tao-233956","原济山水横轴","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,5687,114,118,30,244,7,64,115,61,204,540,117],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff862291aff18cd6d44ac688b5b35c856.jpg","纵46.5cm，横30.7cm",[],{"id":5692,"slug":5693,"title":5694,"dynasty":223,"author":2792,"museum":658,"description":3920,"tags":5695,"thumbUrl":5696,"material":3758,"size":5697,"collection":179,"collections":5698,"showCount":5680,"zanCount":928,"manualWeight":48,"mainColor":49},222813,"fang-gu-si-ji-shan-shui-tu-fang-ju-ran-xia-shan-shui-bi-fa-wang-hui-222813","仿古四季山水图-仿巨然夏山水笔法",[23,24,25,30,958,118,28,202,243,7,63,64,37,676,1044,61,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg","82.5x51.2",[],{"id":5700,"slug":5701,"title":5702,"dynasty":54,"author":955,"museum":20,"description":4618,"tags":5703,"thumbUrl":5704,"material":1218,"size":3905,"collection":124,"collections":5705,"showCount":5680,"zanCount":48,"manualWeight":48,"mainColor":128},220903,"fang-gu-shan-shui-ce-ye-dong-qi-chang-220903","仿古山水册页",[23,24,25,385,114,28,30,117,7,116,32,500,3755,37,120,153,118,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6dca8d58acbb22b6bed289e5f80247.jpg",[124,45],{"id":5707,"slug":5708,"title":2109,"dynasty":133,"author":355,"museum":167,"description":5709,"tags":5710,"thumbUrl":5711,"material":122,"size":5712,"collection":124,"collections":5713,"showCount":5680,"zanCount":928,"manualWeight":48,"mainColor":128},220806,"dong-shan-cao-tang-tu-wang-meng-220806","《东山草堂图》是元四家之一的王蒙创作的一幅隐居题材的山水画。描绘了东山之中隔水相望的草堂，\n这幅画描绘了隔水草堂，画中巨石重叠，秋林疏爽，高士闲居。松树、柏树以及山石都刻画得极其密实、精细。 《东山草堂图》画于元顺帝至正三年，即王蒙四十岁以后所作。\n此时，王蒙已初具自家风貌，用笔切实稳厚、灵活松快，笔墨已有一种稳重苍郁的意象。画面上松树、柏树以及山石都刻画得极其密实、精细。全图以淡赭色罩染，“水晕墨章”的绘画方法丰富了中国绘画的表现技法。",[23,24,114,28,118,30,7,540,117,69,206,243,35,2906,2421,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[124,103],{"id":5715,"slug":5716,"title":5717,"dynasty":133,"author":5718,"museum":56,"description":5719,"tags":5720,"thumbUrl":5721,"material":78,"size":5722,"collection":44,"collections":5723,"showCount":5680,"zanCount":928,"manualWeight":48,"mainColor":128},219546,"gui-qu-lai-ci-tu-qian-xuan-219546","归去来辞图","钱选","在改朝换代的无奈中，钱选效法陶渊明隐居不仕，因此在他聊以自娱的绘画中自然会表现出对陶渊明的追崇，进而描绘出他的形象。这大概也是钱选隐居生活中心境的映照。在《归去来辞图》画面里，左一半为坡岸，有人家院落；右一半烟水浩淼，远处依稀可见淡淡山脉。靠近坡岸的水中有一只木船，陶渊明身着大袖宽袍立于船头，一童子在船尾摇橹。看召魄伏的波纹，木船正破水向岸边驶来。这或许正是《归去来辞》中“舟摇摇以轻飚，风飘飘而吹衣”的真实写照。另—边浅渚绿岸上有六棵柳树，枝叶茂密；一道隆起的院墙间有一柴门开着，几竿竹子探出墙来，这大概是陶渊明的居所。门前有俩孩童和一妇人似在迎接陶渊明回家。正是《归去来辞》中“乃瞻衡宇，载欣载奔，童仆欢迎，稚子候门”的写照。\n在技巧上，钱选利用虚实对比的手段，表现了陶渊明乘船渡水、脱离尘网、走向田园的生活寓意。画中所设的无边淡水和田园家境是两种境界的载体，也是画家精神的载体。画中的人物描绘细腻、传神，用线精致；坡岸、院墙的皴染均匀，树的枝叶自然、流畅。整个画面赋色清淡，洋溢着田园的清幽之气，同时，也体现出作者一种闲适淡泊的襟怀。",[23,152,24,25,26,28,29,120,153,30,61,115,7,64,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c885d7fc36e4d1430327a83eb955a8.jpg","纵26厘米，横106.6厘米",[44,45,1822],{"id":5725,"slug":5726,"title":5727,"dynasty":18,"author":434,"museum":459,"description":5728,"tags":5729,"thumbUrl":5730,"material":303,"size":5731,"collection":124,"collections":5732,"showCount":5680,"zanCount":11,"manualWeight":48,"mainColor":985},218618,"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[24,25,2895,29,114,28,64,156,7,289,171,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[124,42],{"id":5734,"slug":5735,"title":1121,"dynasty":18,"author":434,"museum":266,"description":5736,"tags":5737,"thumbUrl":5742,"material":78,"size":2829,"collection":44,"collections":5743,"showCount":5680,"zanCount":11,"manualWeight":48,"mainColor":128},218235,"luo-shen-fu-tu-yi-ming-218235","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[23,152,24,25,26,28,29,61,170,5738,115,64,7,2223,5739,156,5740,5741],"洛神","仙禽异兽","怅惘","神话场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg",[44],{"id":5745,"slug":5746,"title":5747,"dynasty":223,"author":4731,"museum":459,"description":5748,"tags":5749,"thumbUrl":5750,"material":808,"size":809,"collection":124,"collections":5751,"showCount":5752,"zanCount":48,"manualWeight":48,"mainColor":128},235658,"shan-shui-ping-yuan-jiang-235658","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,25,202,59,28,29,118,30,62,35,7,117,156,64,968,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d1025c7cc3b3c23c5404aad98a7d7f.jpg",[124],93,{"id":5754,"slug":5755,"title":5756,"dynasty":223,"author":3733,"museum":20,"description":5757,"tags":5758,"thumbUrl":5760,"material":40,"size":5761,"collection":44,"collections":5762,"showCount":5752,"zanCount":928,"manualWeight":48,"mainColor":49},223168,"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。\n焦秉贞是天主教传教士汤若望的门徒，通天文，擅长画肖像。康熙时官钦天监五官正，画“御容”。明末清初，西洋教士布道中国，每以宗教画为宣传工具，清朝画院供奉众多西洋教士，而钦天监中主其事者众，故焦氏日相濡染，遂习其法，亦一时之风尚使然。焦秉贞所画花卉精妙绝伦，其山水、人物、楼观之位置，自近而远，自大而小，不爽毫发，系采西洋画法。尝奉诏绘《耕织图》四十六幅，村落风景，田家耕作，曲尽其致。称旨，旋镂版印赐臣工。康熙二十八年（1689）尝写池上篇画意，雍正四年（1726）曾为张照写像，蒋廷锡补景。\n焦秉贞作为一个宫廷画家同时又是一个科学官吏，在钦天监供职，对算理和科学的了解自然要比其他担任文官的宫廷画家要多一些，对于建立在数学、物理研究基础之上的西方绘画也较容易了解和接受。这仅仅是一个客观的因素，当时康熙皇帝对于参用西法的绘画的喜爱和赞赏是焦秉贞学习西法的主观因素和重要动力。流传至今较多的他的绘画中多带有“臣”字款，这些作品从整体上看多用色浓重艳丽，布局紧凑，细致工整，“参用西法”的特征主要表现在人物大小的安排，透视和明暗的运用及空间处理上，人物大多按近大远小的原则来安排，不同于传统中国画按人物身份高低安排人物大小的习惯，在空间处理上，也把人物放在一个真实的空间中，以人物为中心营造空间，建筑大小也考虑到人的尺度，甚至不惜牺牲建筑空间的完整性。\n焦秉贞的绘画始终有一种中国化了的真实，似乎总无法摆脱绘画中“写意”思想，在他私人的习作《归去来兮图》中我们更是看到了中国传统文人画家的情怀，除了茅屋结构有上有些许透视外，无论从题材选取还是画面中大片留白手法的运用，都表达了文人惯有的山林隐逸的思想，意境深远，给人以无限遐想。\n明代有一位画家名叫曾鲸（1568—1650，字波臣，福建莆田人，流寓金陵），一改我国传统人物肖像的画法，不用粉彩进行渲染，而是采用淡墨渲染出阴影、凹凸，甚至每画一张像，烘染达数十层，直到满意为止。当时，追随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[23,24,25,26,28,29,59,30,61,62,64,66,7,116,63,3148,5759],"城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","58.5×544cm",[44,45],{"id":5764,"slug":5765,"title":5766,"dynasty":18,"author":550,"museum":368,"description":5767,"tags":5768,"thumbUrl":5769,"material":140,"size":5770,"collection":42,"collections":5771,"showCount":5752,"zanCount":928,"manualWeight":48,"mainColor":49},221578,"hao-liang-qiu-shui-tu-li-tang-221578","濠梁秋水图","《濠梁秋水图》是宋代画家李唐创作的一幅中国画，描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。\n《濠梁秋水图》的创作，似乎正处于其风格转变过程中的后期，是南宋新风格的开始，构图局部取景的方式已有所体现；而《采薇图》只不过是把要表现的物象更加拉近了而已。皴法上，此图出现了大量的侧锋用笔，洗练、刚劲，但笔触略小，石质坚实，这是大斧劈皴的雏形。到了《采薇图》，则变为阔笔挥洒，更加简略，充满速度和力感，转变体现得更加明显了。还有《采薇图》的远景部分，仿佛弥漫着一层雾气，树石的画法也是水气淋漓，这可能与李唐已久居江南有关。《濠梁秋水图》则显得稍有不同，透露出一种浑厚深沉的山水景象。\n从用笔、风格、水准等方面来看，《濠梁秋水图》当属李唐从《万壑松风图》到《采薇图》之间的过渡作品，仿佛是他在为北宋风格向南宋风格的转变做精巧的注释一般，因而显示出此作珍贵的历史价值和学术价值。",[23,24,25,26,30,114,118,61,7,244,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606bd8755e55a8ff1f77d67242cb344.jpg","纵24厘米，横114.5厘米",[42,124,45],{"id":5773,"slug":5774,"title":5775,"dynasty":133,"author":355,"museum":20,"description":5776,"tags":5777,"thumbUrl":5778,"material":415,"size":5779,"collection":124,"collections":5780,"showCount":5752,"zanCount":48,"manualWeight":48,"mainColor":49},220818,"guan-shan-xiao-si-tu-zhou-wang-meng-220818","关山箫寺图轴","王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。\n他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。\n《画史绘要》中说：“王蒙山水师巨然，甚得用墨法”。",[23,24,25,202,30,28,118,59,243,62,64,7,968,156,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1601b0cd43037b968c1bf32d6a8e7830.jpg","纵161.7cm，横56cm",[124,45],{"id":5782,"slug":5783,"title":5784,"dynasty":1743,"author":1744,"museum":3209,"description":5785,"tags":5786,"thumbUrl":5789,"material":230,"size":5790,"collection":179,"collections":5791,"showCount":5752,"zanCount":48,"manualWeight":48,"mainColor":128},220481,"li-ren-xing-fu-bao-shi-220481","丽人行","泼墨晕染出如烟林木，虚实相生间铺展游春盛景。人物错落排布，文人儒雅、仕女娇妍，乐伎持乐相随，神态灵动鲜活，衣袂飘举尽显唐风古韵。色彩冷暖交织，石青、朱红的明艳衣袍，晕融在水墨氤氲的林野间，既有传统写意笔墨的空灵，又融入现代构图的章法韵律。将踏青的雍容闲适铺陈开来，古雅诗意漫溢林间，把人物雅集与山水意境融为一体，尽显华丽雅致的盛唐气象。",[23,24,28,26,61,7,806,5787,5788],"扇子","古代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0bde7dd2c3b8917c7f9b70c3d499f9.jpg","纵61.7厘米，横219厘米",[],{"id":5793,"slug":5794,"title":1499,"dynasty":223,"author":4898,"museum":167,"description":5795,"tags":5796,"thumbUrl":5797,"material":78,"size":5798,"collection":44,"collections":5799,"showCount":5752,"zanCount":928,"manualWeight":48,"mainColor":985},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,25,26,28,29,60,59,61,62,63,64,7,90,91,35,1459,72,66,676,93,71,92,32,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[44,45],{"id":5801,"slug":5802,"title":5803,"dynasty":54,"author":3225,"museum":167,"description":5804,"tags":5805,"thumbUrl":5806,"material":78,"size":5807,"collection":124,"collections":5808,"showCount":5752,"zanCount":928,"manualWeight":48,"mainColor":49},214741,"qiu-lin-shu-wu-tu-zhao-zuo-214741","秋林书屋图","这幅画表现的是一个男人独自坐在森林下的书房里，云雾笼罩着远处的山。构图很简单，将河流和天空留白，加上一些水墨，这幅画的特点是柔和和优雅。",[24,475,114,118,202,153,1158,1877,7,117,64,500,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c65d9c974db8e736b5c1f04d0b6cde.jpg","103.1x51.4",[124],{"id":5810,"slug":5811,"title":5812,"dynasty":223,"author":1533,"museum":5034,"description":5813,"tags":5814,"thumbUrl":5816,"material":303,"size":5817,"collection":124,"collections":5818,"showCount":5752,"zanCount":48,"manualWeight":48,"mainColor":128},214546,"feng-lin-tu-wang-jian-214546","风林图","这幅画据说是沈周临摹的，是后世的典范，因为沈周为元四家建立了方法。用墨深入人心，笔触比沈周的更柔和，没有老辣。",[24,25,202,114,118,30,7,117,5815,1665],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbbfe89cadeb3bc96eed8e040b30a40c.jpg","88.2x51.3",[124],{"id":5820,"slug":5821,"title":5822,"dynasty":18,"author":2052,"museum":459,"description":5823,"tags":5824,"thumbUrl":5826,"material":808,"size":809,"collection":179,"collections":5827,"showCount":5828,"zanCount":48,"manualWeight":48,"mainColor":49},288495,"fen-xiang-bo-ruan-tu-li-song-288495","焚香拨阮图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[152,24,25,202,28,61,170,806,29,70,7,269,274,5825,2938],"焚香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e91c925d5a97ce7aba2fd11b9a72400.jpg",[],92,{"id":5830,"slug":5831,"title":5257,"dynasty":18,"author":5832,"museum":167,"description":5833,"tags":5834,"thumbUrl":5835,"material":360,"size":5836,"collection":179,"collections":5837,"showCount":5828,"zanCount":11,"manualWeight":48,"mainColor":128},232841,"chi-bi-tu-wu-yuan-zhi-232841","武元直","此图描绘了《赤壁赋》中苏轼与客泛舟的情景。大江两岸，石壁陡峭，主山连嶂如屏，江岸古松林立。江水波浪激涌处，一小舟顺流飘然而下，徜徉其中，苏子与二客泰然而坐，谈笑风生，似在吟诗作赋，指点江山。而船夫撑篙，顺流而下，泛舟荡漾于江水之上。长江远去，江面渐渐宽阔，烟波浩荡，而在高耸险峻的山壁之下，小舟及其载客，却是显得那么的渺小\n作者采用开阔的长卷形式，描绘了赤壁的山光水色。画中烟波浩森，巨峰矗立，山石嶙峋、草木葱郁，风声、松声、水声、鸟声在这萧瑟的人迹罕至的地方显得更为凄楚，似乎展现出当年军队悲壮厮杀的场面。近景左右两岸呈开合之势，冈坡崖石起伏，许多松树在这险绝之处更加盘桓突兀、傲立不屈，使人肃然起敬。中景江水湍急，拍岸有声，巨石横江。瞪目而视，中部危峰矗立，断岸千尺。仰首而观，山顶上郁郁葱葱的树木错落有致。远处峰峦起伏，烟雨溟濛。江心一叶小舟逆流而上，舟中是苏轼等四人，怀古寄情，饮酒赋诗，尽情地感受江山变幻无穷的魅力。\n此图无款印，卷后有金代赵秉文行书和苏轼《赤壁词》一阕，前隔水上明代大鉴藏家项元汴题曰：“北宋朱锐画赤壁图。赵闲闲追和坡仙词真迹。李天籁珍秘”。\n赵秉文大行书全文：追和坡仙赤壁词韵。清光一片，问苍苍桂影，其中何物。一叶扁舟波万倾，四顾粘天无壁。叩枻长歌，姮娥欲下，万里挥冰雪。京尘千丈，可能容此人杰。回首赤壁矶边，骑鲸人去，几度山花发。淡淡长空今古梦，只有归鸿明灭。我欲乘云，从公归去，散此麒麟发。三山安在，玉箫吹断明月。正大五年重九前一日，书于玉堂之署。秉文。\n在黄州时，苏轼曾邀友人坐着小船泛游于赤壁之下，凭吊三国时代周瑜与诸葛亮共同击败曹操的地方，写下了《赤壁怀古》、《赤壁赋》等名作，以抒发对古今兴亡的感慨和对大自然雄伟、壮阔的赞美。在这之后，赤壁就成为文人画家作画的常见素材。而武元直所画的《赤壁图》正是以苏轼的《赤壁赋》为题材，表达了苏轼诗文中所描写的境界。\n金灭北宋，南宋偏安江南，政治上宋金对立，然而，文化上金呈现汉化倾向。从北宋掠夺来的书画，成为金代画家学习研究的主要依据，他们的绘画技法日趋成熟，涌现出一批卓有成就的画家，武元直就是其中的一位，而他的《赤壁图》就是在这样的背景下诞生的。\n该画几百年来一直被认为北宋朱锐所作。但是近人感觉此图的笔墨，多类似“斧劈皴”，似乎不是北宋画家所为，加上金代元好问所著《遗山集》中，有“题赵闲闲书赤壁词”一条，末云：“《赤壁图》，武元直所画”，于是马衡著文将此图归于武元直名下。\n《赤壁赋》创作于苏轼被贬黄州的困难时期，画面形象地再现了苏轼携友乘舟夜游赤壁的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀，抒发了苏轼《赤壁赋》从怀古伤今升华到人生超脱的豪放胸臆。\n画中人物虽小，其精神面貌却可得其大略；扁舟虽小，但以小点连缀成形，似音符叮当有声。画家细致地描绘出风动松折，动态逼真，山石笔意健劲，质感坚硬；远山空朦悠然；松杉苍郁，层次分明。\n此图画法，直接以北宋北方画派的传统，用笔比较湿润，江水用流畅曲线，两出波纹，愈远愈细淡。近山用浓墨的斧劈皴，再加淡墨直皴，竖斜交织，表现了山石的质感。远山远树用淡墨画出，不点苔，略加皴染山石和树木，刚柔适中，立体感强，产生浓淡墨色的渗化现象。这种注重空气透视变化的画法，造就一卷颇具特色的作品。\n面的选景在长江的一个弯道处，观者的位置刚好可以看到左右两侧越来越远的景致，而中间部分的高山是它们的分界，体现了画面左右的水平空间感。\n此图采用横卷形式，以便于展开长江两岸的景物，画山穷其凹凸，写水状其盘涡。画中左、右下角各有一组陡峭的山壁，让出屹立于江面的赤壁矶头。从左面到画面二分之一的地方都是连绵不断的临江峭壁，远处山壁以淡墨勾皴，山巅略点重墨，画而中心的赤壁矶头十分突出，赤壁矶后是大片江岸，便左边拥塞的江面至此顿时开阔起来。\n此外，此图采用了全景式的构图方式，使画面整体看起来较为雄伟、壮观。\n中国画家林树中：这是一幅十分成功的杰作。特别是在少数民族统治的金国，画家画出这样高水平的山水画尤为难能可贵，可以认为是今存金国最有代表性的山水面作品。",[23,24,25,26,114,118,30,115,4677,7,4848,500,1474,243,37,501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纵50.8厘米，横136.4厘米",[],{"id":5839,"slug":5840,"title":5841,"dynasty":54,"author":2636,"museum":368,"description":5842,"tags":5843,"thumbUrl":5844,"material":360,"size":5845,"collection":179,"collections":5846,"showCount":5828,"zanCount":48,"manualWeight":48,"mainColor":1138},231835,"lin-xie-jian-cha-tu-wen-zheng-ming-231835","林榭煎茶图","该图所绘山丘起伏，而湖水澄澈，临湖平缓的坡岸上有茅屋数间，竹篱围而成院，杂树环绕。主人于房内凭窗远眺，一童正在室外烹茶，另一人拄杖沿湖边小径而行，似来访友，毫无城市的杂沓、喧嚣，表现了文人悠闲、恬淡的生活情趣。此图笔墨遒劲秀雅，线条流畅工致。\n此图描绘林榭处煎茶情景。此画右起青山林立，山顶山腰山坡间树木丛生，远见似一片片青绿林带，呈烟消碧落的景致。山下为江水一泓，河面宽阔，水平如镜，一派风和日丽的景色。画的中部座落着几间屋宇房舍，四周林木丛生，数间房舍掩映在树木之下，且被竹篱环抱，房舍内，一位长者坐室内凝思，室外一人煮茶，身着便服，这是此画核心部分。画卷的左边为不高不矮土坡山石，在坡岸上长满了杂木和丛草，葱葱郁郁，一派春光明媚，正是煎茶的最好时节。画中有作者自题“徵明为禄之作。”卷末有文徵明白题七言诗一首，赞美君山风光。\n煮茶历来为古贤名士选取的题材之一，远的不说，如元代有赵原的《陆羽烹茶图》，表现唐代茶人陆羽的故事，陆羽不但嗜茶著名，而且对茶很有研究，撰有《茶经》，世称其为“茶神”。又有明代丁云鹏绘有《煮茶图》，画面亦描绘唐代陆羽煮茶的典故。该图是文徵明中年时期所作。\n《林榭煎茶图》以更广阔的湖景描绘，在茶会所蕴含的雅俗之辨意味以外，更叠加以隐逸的超越意涵。悠游闲适、山湖相映，共同映射着苏州文人复杂的内心世界。\n此图笔墨遒劲秀雅，线条流畅工致。山石用牛毛皴，浅淡的青绿设色，近树精勾细琢，远树概括取景。人物的衣纹用高古游丝描。人物形象各俱神态，通过人物眼神、姿态、衣着等具体描绘来突出此画的主题。此画的技法，全画用笔秀润，勾点结合秀逸天成。设色清新秀丽，调色清淡有浓丽绚烂之致，虽浓丽又隽雅不艳俗，为时辈所难以企及。",[23,24,25,26,114,118,30,116,7,117,64,120,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9697288498df44d150ee73c094c572.jpg","纵25.7厘米，横114.9厘米",[],{"id":5848,"slug":5849,"title":5850,"dynasty":54,"author":5851,"museum":658,"description":5852,"tags":5853,"thumbUrl":5854,"material":230,"size":5855,"collection":124,"collections":5856,"showCount":5828,"zanCount":48,"manualWeight":48,"mainColor":49},222466,"lan-ting-xu-quan-juan-zhu-yun-ming-222466","兰亭序全卷","祝允明","本卷为祝允明行书《兰亭序》全文与文徵明为之补图的书画合璧作品。祝氏书法宽博雄放，尤具自家风神。文氏补图画王羲之等人兰亭修契之事，设色雅丽，笔墨娴熟\n此本《兰亭序》即是二人追求隐逸自由的代表画作，也是二人友谊的见证。",[23,152,24,25,26,120,114,28,153,119,30,7,116,63,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa495121fe18a1376a9191624843f67a1.jpg","26.7x146厘米",[124,45],{"id":5858,"slug":5859,"title":5860,"dynasty":18,"author":198,"museum":459,"description":1927,"tags":5861,"thumbUrl":5862,"material":28,"size":5863,"collection":42,"collections":5864,"showCount":5828,"zanCount":928,"manualWeight":48,"mainColor":49},221431,"qiu-yi-tu-li-shan-fan-kuan-221431","秋意图立軕",[23,24,25,202,28,30,118,117,7,64,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3263c8c2537dc9bc31283a3c58aea08c.jpg","50.8x36.5",[42,124,45],{"id":5866,"slug":5867,"title":5868,"dynasty":54,"author":110,"museum":1202,"description":5869,"tags":5870,"thumbUrl":5872,"material":360,"size":5873,"collection":179,"collections":5874,"showCount":5828,"zanCount":928,"manualWeight":48,"mainColor":128},220025,"dong-zhuang-tu-ce-zhi-he-dong-shen-zhou-220025","东庄图册之鹤洞","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,24,25,385,114,118,30,1620,5871,64,7,117,1113,4163],"洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae2436dfdae7b3a2935aef740291ff1.jpg","纵28.6厘米，横33厘米",[],{"id":5876,"slug":5877,"title":5878,"dynasty":54,"author":110,"museum":1202,"description":5869,"tags":5879,"thumbUrl":5881,"material":122,"size":5873,"collection":179,"collections":5882,"showCount":5828,"zanCount":928,"manualWeight":48,"mainColor":128},220024,"dong-zhuang-tu-ce-zhi-geng-xi-xuan-shen-zhou-220024","东庄图册之耕息轩",[23,24,25,385,114,28,118,30,61,7,5880,155],"亭轩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d01d708daaa61717394c3e4b577c01.jpg",[],{"id":5884,"slug":5885,"title":5886,"dynasty":18,"author":5887,"museum":111,"description":5888,"tags":5889,"thumbUrl":5890,"material":555,"size":5891,"collection":124,"collections":5892,"showCount":5828,"zanCount":467,"manualWeight":48,"mainColor":49},218400,"du-fu-shi-yi-tu-zhao-kui-218400","杜甫诗意图","赵葵","此图为唐代诗人杜甫“竹深留客处，荷净纳凉时”佳句为题，描绘的是一片竹林景色。图中丛草茂密，绿竹幽深，连绵万顷，层层叠翠，尤以竹林深处，一条蜿蜒小路上，有二人策驴缓行，显然是欲溯溪而上，至一塘绿水处，荷叶飘香，临流水阁数间，令人畅想，不免有流连忘返之意，若能高卧闲居，听竹闻香，自然就可以荣辱皆忘，陶然忘机。所谓一心，就是这个状态，无关乎身家性命，但求此心真诚无二，为将者保家卫国，为画者怡情自乐，君子无为而无不为，皆能不出其位，用现在的话说，就是干一行，爱一行，少些杂念，自然可以有所成就。岳飞曾说，文官不爱钱，武官不惜命。其实也是这个道理。故人若能一心不乱，大可以报效国家于危难之际，小可以洁身自好于巷陌之间。",[23,24,26,114,118,1067,63,64,116,117,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96951e7904dac4cc20ea034fe6300033.jpg","纵74.7厘米，横 212.2厘米",[124],{"id":5894,"slug":5895,"title":5896,"dynasty":54,"author":801,"museum":459,"description":5897,"tags":5898,"thumbUrl":5899,"material":122,"size":5900,"collection":44,"collections":5901,"showCount":5828,"zanCount":928,"manualWeight":48,"mainColor":128},215040,"shi-cai-zi-tu-tang-yin-215040","十才子图","此卷是唐伯虎的虚构作品，后记说是宋徽宗赵佶临摹的，并说赵佶与吴宽一起南下。 吴宽死于1504年，而正德十年是1515年，吴宽已死了十一年，所以此画只能是赝品，但画技中上，可以作为参考。",[23,24,25,26,29,28,61,116,30,7,1067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7c8a37613f6aa905d740483ae67edd.jpg","31.5x123.5",[44],{"id":5903,"slug":5904,"title":599,"dynasty":223,"author":4335,"museum":658,"description":5905,"tags":5906,"thumbUrl":5907,"material":122,"size":5908,"collection":124,"collections":5909,"showCount":5828,"zanCount":928,"manualWeight":48,"mainColor":128},214692,"shan-shui-tu-cha-shi-biao-214692","这是查士标罕见的无骨山水之一，远处的云和山融合在一起，近处的几个泥滩，阴影中的柳树和丝带垂下；两个人和一头驴为这一场景增色不少。查士标，字尔瞻，清初画家，与孙逸、汪无端、僧弘仁等书画家一起被称为“新安四家”。",[23,24,30,114,118,120,528,32,34,61,91,7,115,500,2808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc953330b3b38786d8ac4d32756933080.jpg","90.1x36.7",[124],{"id":5911,"slug":5912,"title":5913,"dynasty":223,"author":3836,"museum":266,"description":3837,"tags":5914,"thumbUrl":5915,"material":360,"size":3840,"collection":179,"collections":5916,"showCount":5828,"zanCount":48,"manualWeight":48,"mainColor":49},214349,"san-jue-shan-shui-ce-8-hua-yan-214349","三绝山水册-8",[23,24,114,28,118,385,30,116,63,7,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ff06b8f3beab62344a0d21f610c76c.jpg",[],{"id":5918,"slug":5919,"title":5920,"dynasty":133,"author":5921,"museum":459,"description":5922,"tags":5923,"thumbUrl":5924,"material":808,"size":809,"collection":179,"collections":5925,"showCount":5926,"zanCount":928,"manualWeight":48,"mainColor":128},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[23,24,25,26,114,118,120,153,119,30,761,4124,115,61,7,64,289,116,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg",[],91,{"id":5928,"slug":5929,"title":5930,"dynasty":990,"author":5931,"museum":459,"description":5932,"tags":5933,"thumbUrl":5934,"material":179,"size":179,"collection":179,"collections":5935,"showCount":5926,"zanCount":11,"manualWeight":48,"mainColor":49},232623,"wan-song-qiu-lin-tu-quan-juan-zhang-zao-232623","万松秋林图全卷","张璪","论画山水树石》中说到“山水之变，始于吴，成于二李”之后，紧接着便说“树石之状，妙于韦偃，穷于张通(张璪)”。在唐人心目中，张璪的画还是高于王维等人的。张璪作画喜用紫毫秃笔，属于吴道子型激情一派画家，他往往秃笔抹写，画至得意处，忘乎所已。干脆以手醮色，挥涂起来，久而久之，形成习惯，乃至于发展为王默的“脚蹙手抹”。后世的指画当受其影响。\n张璪的山水画另一大特色就是以墨为主，不贵五彩。荆浩《笔法记》云“张藻员外树石，气韵俱盛，笔墨积微，真思卓然，不贵五彩，旷古绝今，未之有也。”这种“不贵五彩”、“笔墨积微”水墨画法在绘画技法上是一个极大的突破。",[23,152,24,25,26,114,28,118,30,761,1158,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c33524bed7f62604513b963bc367865.jpg",[],{"id":5937,"slug":5938,"title":5939,"dynasty":223,"author":381,"museum":459,"description":5940,"tags":5941,"thumbUrl":5942,"material":179,"size":179,"collection":179,"collections":5943,"showCount":5926,"zanCount":928,"manualWeight":48,"mainColor":128},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[24,25,26,28,30,118,120,153,119,154,115,156,62,63,64,116,7,117,37,3778,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],{"id":5945,"slug":5946,"title":5947,"dynasty":54,"author":55,"museum":459,"description":5948,"tags":5949,"thumbUrl":5950,"material":179,"size":179,"collection":179,"collections":5951,"showCount":5926,"zanCount":48,"manualWeight":48,"mainColor":49},228385,"shang-lin-tu-juan-si-ren-shou-cang-chou-ying-228385","上林图卷（私人收藏）","《明仇英上林图卷》由明朝画家仇英绘画。\n仇英《上林图卷》画意取自西汉司马相如的名篇《上林赋》，描写了汉武帝时的皇家园囿“上林苑”的美景，以及汉武帝与群臣狩猎时的壮观景象。\n【名称】明仇英上林图卷 【类别】中国 【年代】明代 【作者】 【规格】该幅44.8128厘米，隔水一14.1厘米，隔水二14厘米，拖尾44.826.厘米 【收藏】 主题与关键字： 房舍、宫殿、马、后妃、渔夫、船夫、军士、瀑布、藤萝、江河、湖海、侍从（侍女、童仆）、兽力车、石磴、栈道、官员（臣）、栏杆、鹤、兵器、高士（士人、隐士）、桃花、溪涧、湍泉、帝王、狐狸、亭、乐器、台阁、杉、篷舟、鹿、仪仗（佛教宝盖）、桥、百姓、云、牛、篱笆、围墙、羊、帐篷、鸾凤、虎、鸡、茅草屋、田畴、松、狗。\n故宫书画录（卷八），第四册，页42 故宫书画图录，第十八册，页5-6 此幅图写 上林赋意，卷末并附有署文徵明款之隶书全文。\n相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。\n画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。\n人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。\n此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托。\n仇英，明朝，太仓（今江苏太仓）人。\n移家吴县（今江苏苏州）。\n画师 ，工山水、人物、士女，而格力不逮。\n特工临摹，粉图黄纸，落笔乱真。\n至于发翠豪金，丝丹缕素，精丽艳逸，无愧古人。\n尝作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆臆写古贤名笔，斟酌而成，可谓绘事之绝境，艺林之胜事也。\n题其仙弈图谓：“仇实父是 后身，即文、沈亦未尽其法。\n”洵非过誉。\n尤工士女，神采生动，为明代工笔之杰。\n152年（正德十五年）与 合仿 莲社图，藏故宫博物院。",[23,29,27,28,26,30,62,61,7,117,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d654d1e6148064ec1640922c1921901.jpg",[],{"id":5953,"slug":5954,"title":5955,"dynasty":223,"author":325,"museum":167,"description":3966,"tags":5956,"thumbUrl":5961,"material":415,"size":3970,"collection":124,"collections":5962,"showCount":5926,"zanCount":928,"manualWeight":48,"mainColor":128},222768,"shi-er-yue-ling-tu-9-yue-lang-shi-ning-222768","十二月令图（9月）",[23,24,29,28,5957,5958,61,62,70,30,7,5959,5960],"青绿山水","时令图","赏菊","消闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4765ff320188bb74abd93a15b392fe.jpg",[124,45],{"id":5964,"slug":5965,"title":5966,"dynasty":54,"author":5967,"museum":551,"description":5968,"tags":5969,"thumbUrl":5970,"material":78,"size":5971,"collection":44,"collections":5972,"showCount":5926,"zanCount":467,"manualWeight":48,"mainColor":49},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,24,25,26,30,28,118,61,63,64,115,462,62,7,117,2123,358,37,3189,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[44,45],{"id":5974,"slug":5975,"title":5976,"dynasty":18,"author":5977,"museum":167,"description":5978,"tags":5979,"thumbUrl":5980,"material":78,"size":5981,"collection":124,"collections":5982,"showCount":5926,"zanCount":666,"manualWeight":48,"mainColor":49},218533,"yan-shan-xu-bie-tu-zhao-zong-han-218533","雁山叙别图","赵宗汉","画楼台亭榭，二人设几拥书对坐，一人携杖，童子抱琴随行。此图嘉祐二年五月廿九日，宗汉奉使出镇广南，过浙中，其乡人旧友汪子卿少游浙中，登庆历进士，归从雁山，作此图为别。",[24,25,202,28,118,120,119,30,62,7,117,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ceca5bf5d4e52df96f93e938393a90e.jpg","纵156公分，横160公分",[124,42],{"id":5984,"slug":5985,"title":5986,"dynasty":990,"author":434,"museum":5987,"description":5988,"tags":5989,"thumbUrl":5994,"material":5995,"size":179,"collection":179,"collections":5996,"showCount":5926,"zanCount":48,"manualWeight":48,"mainColor":49},217287,"jiang-mo-bian-dun-huang-tu-juan-3-yi-ming-217287","降魔变·敦煌图卷-3","法国国家图书馆","树影婆娑间，故事徐徐铺展。墨线勾勒的衣袂翻飞里，左侧人群神色各异——或凝神静听，或交头接耳，衣袍的赭黄与青绿晕染出人间烟火气。\n\n帐幔轻垂，裹着一室虔诚：帐内人物或合十默祷，或低语交谈，虬髯者的粗犷与稚童的灵动相映成趣。旁侧大象纹饰古雅，背上的图案似藏玄机，卧于茵席间，添了几分神圣静谧。\n\n右侧僧众团坐，赭红衣袂与墨色僧袍交织，光头的圆润衬着肃穆神情，仿佛法音正缓缓流转。他们或指或听，姿态各异却皆凝向中心，将叙事的焦点引向那份庄严。\n\n淡彩晕染的纸页上，线条如行云流水，把宗教的神圣与人间的鲜活揉作一处。每一笔都藏着敦煌艺术的古朴韵致，让千年前的故事，在今日仍能触到那份温热的虔诚与生动。",[152,24,25,26,28,29,923,61,5990,5991,806,7,5992,412,5993,1124],"敦煌","大象","莲花","僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78417d9a75ae607f87c5184762deb39.jpg","设色,拓本",[],{"id":5998,"slug":5999,"title":6000,"dynasty":133,"author":6001,"museum":111,"description":6002,"tags":6003,"thumbUrl":6004,"material":555,"size":6005,"collection":124,"collections":6006,"showCount":5926,"zanCount":928,"manualWeight":48,"mainColor":49},215037,"teng-wang-ge-tu-san-ye-xia-yong-215037","滕王阁图散页","夏永","此图描绘了唐代洪州（今江西南昌）名胜滕王阁，此楼依山傍水，是登高远眺之佳处，与黄鹤楼、岳阳楼并称“江南三大名楼”，唐代诗人王勃曾作滕王阁序，留下“落霞与孤鹜齐飞，秋水共长天一色”的名句，使此楼垂名后世。",[152,24,25,59,114,62,30,115,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3937fc23fb0df816f2e1017fd0ca690c.jpg","纵25.5厘米 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创作的绢本墨笔画，现藏于北京故宫博物院。\n《渔父图》画远山丛树，流泉曲水，老树平坡。\n坡旁溪水一泓，小舟闲泊。\n一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。\n笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。\n坡旁水泽，小舟闲泊。\n一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。\n对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。\n并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。\n”下钤二印。\n图上有清人王铎诗题。\n吴镇的父亲在宋朝是抗金的将军，其叔父与赵孟頫是至交。\n吴镇秉性孤傲，从不愿意与权势者来往，不愿意做官，也很少卖画，不是卖不掉，而是不愿意卖。\n渔、樵、耕、读是古代文人最爱追求的生活方式，“渔父”的形象是清高、隐士的代名词，特别是在元朝，渔父形象大量出现在文学作品、绘画艺术中，成为文人们的感情寄托。\n吴镇对渔父题材更是情有独钟，但他并不是主要歌颂渔父形象，更多是将渔父形象置于某种背景中，营造出一种空无的境界。\n渔父之意对吴镇而言，是一种超然的生活姿态。\n渔父之“父”又作“甫”，是对老年男子的称呼。\n老年人历经沧桑，明于得失，归心淡泊，古称人老之后不归禅则归道，隐含着超脱之情。\n吴镇那种“曲直知有节”不肯傍人篱落的思想也从他画的众多的《渔父图》中反映出来。\n从“至元二年秋八月“判断，是吴镇五十七岁时的作品。\n《渔父图》中的渔父也和竹子一样，是一个象征意义的形象，透露了元代社会的某些侧面的现实情况。\n《渔父图》是将画者的心襟气象与关乎画面自身形式规范的内在结构有机结合起来的典范之作，其所描绘的场景并未脱离视觉真实，但它注重的已不再是真实物象本身，而是借此传达画家对于宇宙韵律的体吾与把握，进而表现陶冶于自然之中、与天地同体的人格境界。\n据题画诗，可以体悟到吴镇想要云游于天地云水之间、超脱而归于自然的“渔隐”心理。\n墨分五色，而“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。\n画山水选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。\n画中载酒船头、垂钓湖面的渔者，沉迷于水天朗月之间，融合在宇宙的秩序和节奏之中，云雾山岚、西风芦荻、水波鱼跃皆与人心息息相通，主观情调与自然景象的交流互渗构成了超出于画面自然山水本身的艺术灵境。\n《渔父图》无论远景、近景均如沐浴在水中，给人“水墨淋漓幛犹湿”之感，但由于渔船与渔父皆以细笔勾出，与湿笔大点大染的山石树木形成鲜明的线面对比、因面画面充溢的湿重之气并没有使人产生闷塞之感。\n此外，吴镇的《渔父图》皆用笔苍劲有力，诗与画交相辉映，形成迷蒙幽深、自由无限的艺术境界。\n故宫博物院研究馆员 ：画中的构图严整精练，置景平奇相间，把处于静态的树木坡石处理得颇有动感，近坡、渔翁、远山三组景物在结构上顾盼自如。\n北京故宫博物院所藏《渔父图》上有清人王铎题诗，此卷曾经明人詹僖，清人吴荣光、潘正炜收藏，现收藏于北京故宫博物院。\n217年9月6日—2月5日，北京故宫博物院举办赵孟頫书画特展，其中《渔父图》为展出珍品之一。\n吴镇（128—154），字仲圭，号梅花道人、梅沙弥，嘉兴人。\n相传吴镇年轻时喜结交豪侠一流的人物，后隐居乡里，以卖卜为生，并吟诗写字作画以消遣，诗书画逐渐有名之后，兼以卖画为生。\n吴镇擅画水墨山水，师法巨然，间学马远、夏主的斧劈皴和刮铁皴，擅用湿墨表现山川林木郁茂景色。\n与 、 、王蒙合称“元四家”。\n传世作品有《双桧平远图》《渔父图》《墨梅图》等。",[23,24,114,118,202,30,115,6027,994,579,117,500,1290,7,6028],"渔父","岸边植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03dd03517bdc35106836bd25b858314f.jpg",[],90,{"id":6033,"slug":6034,"title":6035,"dynasty":18,"author":3371,"museum":459,"description":6036,"tags":6037,"thumbUrl":6038,"material":179,"size":179,"collection":179,"collections":6039,"showCount":6031,"zanCount":48,"manualWeight":48,"mainColor":128},227633,"zuo-kan-yun-qi-tu-wang-wei-shi-yi-ma-lin-227633","坐看云起图-王维诗意","行到水穷处，坐看云起时。",[23,24,152,25,114,28,30,118,117,7,881,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fc5a4c30410523ad6dec74afa8db56.jpg",[],{"id":6041,"slug":6042,"title":6043,"dynasty":223,"author":784,"museum":658,"description":785,"tags":6044,"thumbUrl":6047,"material":793,"size":794,"collection":179,"collections":6048,"showCount":6031,"zanCount":928,"manualWeight":48,"mainColor":49},222817,"gu-su-fan-hua-tu-di-yi-duan-xu-yang-222817","姑苏繁华图第一段",[23,152,24,26,28,29,30,155,6045,2571,5011,62,63,64,6046,65,61,75,7,117,72],"村镇","船舶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a01f4224a44f2fb29505d1c3e5f9e1a.jpg",[],{"id":6050,"slug":6051,"title":6052,"dynasty":54,"author":801,"museum":514,"description":6053,"tags":6054,"thumbUrl":6055,"material":40,"size":6056,"collection":179,"collections":6057,"showCount":6031,"zanCount":11,"manualWeight":48,"mainColor":49},222344,"song-lin-yang-bian-tu-tang-yin-222344","松林扬鞭图","图绘春雪消融，鲜花盛开的季节，文人逸士策马扬鞭结伴郊游的美好景致。画心左上角有画家自题七言诗一首：“女几山前春雪消，路傍仙杏发柔条。心期此日同游赏，载酒扬鞭过野桥。”署款“唐寅”。钤“南京解元”、“六如居士”二印。",[23,24,114,28,118,202,540,61,90,117,243,7,426,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41ce84768985f365b4a778ba934bd0d.jpg","145.3cm 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横:375.3cm",[44,103],{"id":6140,"slug":6141,"title":6142,"dynasty":18,"author":2052,"museum":4439,"description":6143,"tags":6144,"thumbUrl":6146,"material":78,"size":179,"collection":44,"collections":6147,"showCount":6104,"zanCount":11,"manualWeight":48,"mainColor":128},219576,"hua-shan-huo-lang-tu-li-song-219576","画扇货郎图","《货郎图》把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。该画作对了解宋代风俗也具有重大价值。",[24,29,28,385,61,6145,7,175,1170,540,411],"货郎担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf12b7ebb458d226c09221c94572f4e8.jpg",[44],{"id":6149,"slug":6150,"title":6151,"dynasty":54,"author":801,"museum":167,"description":6152,"tags":6153,"thumbUrl":6154,"material":78,"size":6155,"collection":124,"collections":6156,"showCount":6104,"zanCount":928,"manualWeight":48,"mainColor":49},219511,"han-guan-xue-ji-tu-tang-yin-219511","函关雪霁图","画面近处是三四辆牛车穿行在冬日的山道中，山石凹面泉瀑涌出，至右侧汇集成溪。远处是谷底的寺庙、村舍，均笼罩在皑皑白雪之中。更有高楼耸立于山峦顶处的密林里，自山脚处向上拔起的峻峰，笔淡而缩密，勾以数笔为远山，水天合一，均以淡墨烘染，达到了“雪不待粉而自白”的效果。",[24,25,30,114,118,747,341,7,994,35,94,90,244,153,426,32,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84e076a543804a08b825284cfb2e78e.jpg","纵69.9厘米，横37.3厘米",[124],{"id":6158,"slug":6159,"title":6160,"dynasty":18,"author":2741,"museum":167,"description":6161,"tags":6162,"thumbUrl":6163,"material":78,"size":6164,"collection":44,"collections":6165,"showCount":6104,"zanCount":666,"manualWeight":48,"mainColor":128},218795,"lan-ting-xi-yin-tu-guo-zhong-shu-218795","兰亭禊饮图","这幅画描绘的是永和九年的兰亭大典，小板上有三十多个学者在场，山峦起伏，茂林修竹，画工精细，原题为郭忠恕，但实际上更接近元代胡廷辉的风格。",[23,24,152,28,59,29,61,116,63,30,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767a47a8ddc517fcfb474984ffbf175b.jpg","22.1x23.2",[44],{"id":6167,"slug":6168,"title":6169,"dynasty":223,"author":3836,"museum":266,"description":3837,"tags":6170,"thumbUrl":6171,"material":360,"size":3840,"collection":179,"collections":6172,"showCount":6104,"zanCount":928,"manualWeight":48,"mainColor":49},214353,"san-jue-shan-shui-ce-11-hua-yan-214353","三绝山水册-11",[23,24,25,385,114,28,30,1705,7,881,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F062aa97e82de940580bf8cfb91b7d3f7.jpg",[],{"id":6174,"slug":6175,"title":6176,"dynasty":223,"author":3733,"museum":20,"description":6177,"tags":6178,"thumbUrl":6181,"material":179,"size":6182,"collection":124,"collections":6183,"showCount":6184,"zanCount":467,"manualWeight":48,"mainColor":128},223170,"geng-zhi-tu-ce-jiao-bing-zhen-223170","耕织图册","《胤禛耕织图册·收刈》是清代佚名创作的绢本设色画。\n此为耕织图册之一开。\n本幅描绘麦田中农夫装扮的胤禛（雍亲王）正带领众人收割。\n此图用笔精到，设色典雅，人物形象生动传神，将劳动者辛勤耕作的场景描绘得十分生动。\n耕织图起源于南宋时期，是我国古代为劝课农桑而详实地记录耕作与蚕织的系列图谱。\n由于其“图绘以尽其状，诗文以尽其情”，形象生动、细腻传神地描绘了劳动者耕作与蚕织的场景和详细的生产过程，从而起到了普及农业生产知识、推广耕作技术、促进社会生产力发展的巨大作用，而其本身也成为极其珍贵的艺术瑰宝。\n宋代的《耕织图》册由耕图21幅、织图24幅组成。\n清康熙二十八年（1689年），康熙皇帝南巡时观览到此图，感慨万端，遂命内廷供奉焦秉贞根据其原意重新绘制《耕织图》册，作耕图2幅，织图2幅。\n《雍正耕织图》册是雍正帝登基以前以康熙年间刻版印制的《耕织图》为蓝本，内容和规格仿照焦氏本，由清宫廷画师精心绘制而成。\n所不同的是胤禛耕织图中的主要人物如农夫、蚕妇等均为胤禛及其福晋等人的肖像，这在历代的耕织图中是仅见的。\n该图现存52页，其中6页为未定稿的衍页，其余46页中耕图、织图各2页，每幅画上都有胤禛的亲笔题诗，并钤有“雍亲王宝”和“破尘居士”两方印章。\n根据画法特点，此画册可能出自当时宫廷画家陈枚之手。\n（1678—175) 即爱新觉罗， 。\n清朝皇帝。\n满族。\n圣祖第四子。\n年号雍正。\n1722—175年在位。\n康熙三十五年（1696年），从帝征喝尔丹。\n三十七年，封贝勒。\n四十八年，进封雍亲王。\n康熙末参与部分政务。\n得隆科多、年羹尧之助夺得帝位后,即用高压手段对付参与争位的诸弟；胤德被长期幽禁；胤视、胤塘被削籍，不得其死。\n康察的亲信多遭贬斥。\n隆科多、年羹尧亦被借故禁铜并杀。\n对汉族知识分子，改变康照时以笼络为主的策略，屡兴文字狱。\n曾用藩邸亲信鄂尔泰、田文镜、李卫等为重要省区的总督。\n雍正七年（1729年），建立军机房（后改军机处），取代内阁和大臣会议，成为承旨经办军政事务的国家中枢机构；又取消诸王为下五旗（正红、镶红、镶白、正蓝、镶蓝）管主的制度，以加强君主集权。\n实行摊丁人亩，以保证赋税收人。\n在西南少数民族地区推行“改土归流”，废除土司制度，设立府、州、县。\n始设置驻藏大臣,加强对西藏的管辖。\n曾出兵平定 贵族的叛乱，并镇压准噶尔部贵族的骚扰。\n对外曾与沙俄订立《 》和《中俄恰克图界约》，划定中俄中段边界。\n精通满、汉文，娴熟书法，熟悉儒家经典。\n有《世宗完皇帝有制文集》等。",[152,24,25,385,28,29,565,61,91,5233,7,64,6179,155,6180],"农耕","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","34.7cm×27.7cm",[124,44,45],88,{"id":6186,"slug":6187,"title":6188,"dynasty":223,"author":325,"museum":167,"description":3966,"tags":6189,"thumbUrl":6191,"material":415,"size":3970,"collection":124,"collections":6192,"showCount":6184,"zanCount":928,"manualWeight":48,"mainColor":49},222769,"shi-er-yue-ling-tu-zheng-yue-lang-shi-ning-222769","十二月令图（正月）",[23,24,28,29,59,61,62,70,117,7,69,6190],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7578701c0511c7e8d219ace0c798cee0.jpg",[124,45],{"id":6194,"slug":6195,"title":6196,"dynasty":54,"author":801,"museum":167,"description":6197,"tags":6198,"thumbUrl":6199,"material":316,"size":6200,"collection":179,"collections":6201,"showCount":6184,"zanCount":11,"manualWeight":48,"mainColor":49},222338,"shan-lu-song-sheng-tu-tang-yin-222338","山路松声图","此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。",[23,24,475,28,118,341,342,540,204,64,63,244,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48db7aab0e53558f48e3527907dacf3.jpg","纵194.5厘米，横102.8厘米",[],{"id":6203,"slug":6204,"title":6205,"dynasty":54,"author":55,"museum":20,"description":733,"tags":6206,"thumbUrl":6211,"material":40,"size":738,"collection":179,"collections":6212,"showCount":6184,"zanCount":48,"manualWeight":48,"mainColor":128},222192,"ren-wu-gu-shi-tu-xun-yang-pi-pa-chou-ying-222192","人物故事图-浔阳琵琶",[23,24,5356,28,2244,61,726,30,7,6207,6208,6209,6210],"骆驼","音乐","历史故事","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35abb769ff5e9054e9cf450da226925.jpg",[],{"id":6214,"slug":6215,"title":6216,"dynasty":18,"author":713,"museum":167,"description":6217,"tags":6218,"thumbUrl":6219,"material":6220,"size":6221,"collection":42,"collections":6222,"showCount":6184,"zanCount":928,"manualWeight":48,"mainColor":49},221545,"yao-chi-xian-shou-tu-liu-song-nian-221545","瑶池献寿图","《瑶池献寿图》是南宋画家刘松年所创作，此图描绘了仙山楼阁的神仙世界，是当时上层社会的做寿喜庆场面。\n人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,24,29,28,118,59,30,61,62,540,117,7,37,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20358360b91c23dd09f3758afe3d4ad8.jpg","立轴 绢本 设色","纵198.7厘米，横109.1厘米",[42,44,45],{"id":6224,"slug":6225,"title":6226,"dynasty":18,"author":1792,"museum":3521,"description":6227,"tags":6228,"thumbUrl":6229,"material":140,"size":6230,"collection":179,"collections":6231,"showCount":6184,"zanCount":48,"manualWeight":48,"mainColor":49},221375,"xi-shan-qiu-ji-tu-wang-shen-221375","溪山秋霁图","《溪山秋霁图》是北宋 创作的绢画淡设色画，现藏于美国华盛顿弗利尔美术馆。\n图绘秋日雨过天晴后的山青水秀。\n图上群山叠嶂起伏，江水空阔浩淼；近处雨后树木更愈翠绿，江边草屋掩映于树林中；山中可见数座屋脊；远处云雾下的山峦更显妖娆。\n本图以长卷形式表现 雨过天晴后郊野的清丽风光。\n卷中忽而两山夹峙野水逶迤，忽而重岩叠嶂连绵而起，忽而江水横陈浩渺空阔，其中点缀高人逸士渔夫钓者，表现其悠闲生活情趣。\n此图画风清润秀雅，用笔尖利。\n整幅画面布置有序，意境优美，正如宋人论画山水所写：出于可游可居之景。\n王诜，字晋卿，北宋画家，所作烟江云山、寒林幽谷，水墨清润，设色高古绝俗",[24,152,26,114,118,120,153,30,7,117,206,37,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cbc8e85c993c64e82f3c902744c596.jpg","纵45.2厘米，横206厘米",[],{"id":6233,"slug":6234,"title":6235,"dynasty":54,"author":955,"museum":20,"description":6236,"tags":6237,"thumbUrl":6239,"material":6240,"size":6241,"collection":124,"collections":6242,"showCount":6184,"zanCount":928,"manualWeight":48,"mainColor":128},220967,"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[23,24,25,202,114,30,7,117,118,120,695,500,344,994,6238,243,119],"坡石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纸本,墨笔","纵89.5厘米，横51.6厘米",[124,103],{"id":6244,"slug":6245,"title":6246,"dynasty":1743,"author":3262,"museum":5177,"description":6247,"tags":6248,"thumbUrl":6250,"material":230,"size":179,"collection":179,"collections":6251,"showCount":6184,"zanCount":48,"manualWeight":48,"mainColor":128},220500,"e-mei-jin-ding-heng-pi-zhang-da-qian-220500","峨嵋金顶（横披）","云海翻涌将山峦裁出虚实层次，一侧以浅赭勾勒山石，枯涩皴笔尽显崖壁嶙峋苍劲，另一侧以青绿重彩晕染坡峦，层叠笔触晕开蓊郁生机。山巅楼宇隐于翠色之上，在流云间恍若仙阙。\n画作糅合北派山水的雄浑大气与南宗的秀润空灵，打破青绿旧有范式，以色调对冲凸显山川刚柔并济的质感，将峰岳的高华巍峨与清虚空灵凝于尺幅。边角题跋朱印呼应，文气与画韵相融，引观者神游绝顶，揽云听松，坠入烟霞之中。",[24,25,28,27,30,118,31,6249,7,4677,37],"云海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bb0493805dbede2bd10a16c58db9f5.jpg",[],{"id":6253,"slug":6254,"title":6255,"dynasty":620,"author":2232,"museum":2805,"description":5534,"tags":6256,"thumbUrl":6257,"material":555,"size":6258,"collection":124,"collections":6259,"showCount":6184,"zanCount":928,"manualWeight":48,"mainColor":49},219877,"zhong-xi-yan-ai-tu-ju-ran-219877","重溪烟霭图",[23,152,24,25,26,114,30,37,206,7,243,115,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002f9fd99a437be58311e2c0552f8180.jpg","29.9x418.5cm",[124],{"id":6261,"slug":6262,"title":6263,"dynasty":54,"author":537,"museum":20,"description":6264,"tags":6265,"thumbUrl":6266,"material":122,"size":6267,"collection":124,"collections":6268,"showCount":6184,"zanCount":11,"manualWeight":48,"mainColor":128},219721,"shen-cui-xuan-tu-wen-zheng-ming-219721","深翠轩图","文徵明（1470—1559年），原名壁，字徵明，后以字行，改字徵仲，长洲（今江苏省苏州）人。家世武弁，自祖父起始以文显，父文林曾任温州永嘉知县。他幼习经籍诗文，喜爱书画，文师吴宽，书法学李应祯，绘画宗沈周。少时即享才名，与祝允明、唐寅、徐祯卿并称“吴中四才子”。然在科举道路上却很坎坷，从弘治乙卯（1495年）26岁到嘉靖壬午（1522年）53岁，十次应举均落第，直至54岁才受荐以贡生进京，待诏翰林院。四年中目睹官场腐败，一再乞归，57岁回归故里，潜心诗文书画。他通晓各科绘画之艺，擅长各种细粗之法，其目力和控笔能力极佳，80多岁时还能十分流利地书写蝇头小楷竟日不倦。绘画上与沈周共创“吴派”，又与沈周、唐寅、仇英并称“吴门四家”。书法上与祝允明、王宠并誉为“吴中三家”。 文徵明的绘画兼善山水、兰竹、人物、花卉诸科，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。这路细笔山水属本色画，具装饰性、抒情味、稚拙感、利家气诸特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。",[23,24,25,26,30,116,7,117,28,912,69,345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a42dbab646c091f1f3d17e995011702.jpg","纵23.8cm，横78.3cm",[124,1822],{"id":6270,"slug":6271,"title":6272,"dynasty":54,"author":537,"museum":20,"description":6273,"tags":6274,"thumbUrl":6275,"material":78,"size":6276,"collection":124,"collections":6277,"showCount":6184,"zanCount":928,"manualWeight":48,"mainColor":128},219201,"lan-ting-xiu-xi-tu-juan-wen-zheng-ming-219201","兰亭修禊图卷","《兰亭修禊图》为文徵明73岁时用青绿山水画法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便展现出文人雅士潇洒的身姿。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失优雅，艳而别具秀润。",[23,24,25,26,28,29,30,120,61,116,64,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a71fb8eb9d0e6a362f166a6ec72e88d.jpg","纵24.2厘米，横60.1厘米",[124],{"id":6279,"slug":6280,"title":6281,"dynasty":990,"author":6282,"museum":167,"description":6283,"tags":6284,"thumbUrl":6285,"material":303,"size":6286,"collection":103,"collections":6287,"showCount":6184,"zanCount":48,"manualWeight":48,"mainColor":128},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,24,25,26,114,118,119,120,153,30,2112,7,117,64,116,289,63,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[103],{"id":6289,"slug":6290,"title":6291,"dynasty":54,"author":55,"museum":459,"description":6292,"tags":6293,"thumbUrl":6294,"material":179,"size":179,"collection":179,"collections":6295,"showCount":6296,"zanCount":48,"manualWeight":48,"mainColor":49},228443,"ting-qin-tu-ye-chou-ying-228443","听琴图页","青绿晕染的崖谷间，飞瀑漱石，古松虬曲横斜。松下石台之上，抚琴人信手拨弦，对面听者垂眸凝神，将身心都浸在松风声与琴音里。侧旁童子正俯身溪畔汲水，浑然不觉周遭雅韵。\n画面以静取景，以动点染，明丽的设色衬出林涧清寂，人物神态宛然生动，将山林雅集、知音相和的悠然意趣，尽藏于尺幅之间，把文人寄情丘壑的雅致心境铺陈得淋漓尽致。",[23,24,25,385,29,28,27,30,61,806,64,7,117,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31aa149186a2d0e6c5d0c2565807183.jpg",[],87,{"id":6298,"slug":6299,"title":6300,"dynasty":18,"author":575,"museum":459,"description":6301,"tags":6302,"thumbUrl":6303,"material":179,"size":179,"collection":179,"collections":6304,"showCount":6296,"zanCount":928,"manualWeight":48,"mainColor":49},227819,"yue-ye-tu-ma-yuan-227819","月夜图","虬松盘崖而上，枝干屈铁盘旋，松针劲挺如攒，垂挂的松萝更添古寂幽邃。右侧高台层楼凭山而建，飞檐半隐于松荫，似浸在溶溶月色里。远景山峦晕作淡黛，隐没在昏褐夜色中，空濛虚灵，将天地拉得辽远空阔。\n\n全画以边角取景，淡墨轻皴营造月夜朦胧氛围，不见月华，却处处浸着凉润夜色，似可闻松涛伴着凉风掠过廊檐。尺幅之间以少胜多，留白造境，将秋夜清寂雅致藏在一隅，尽显空灵简远的意境，把江南月夜的幽柔静谧铺陈在绢素之上，余韵悠长。",[23,152,24,25,30,114,28,3296,540,62,500,2316,117,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],{"id":6306,"slug":6307,"title":6308,"dynasty":54,"author":434,"museum":20,"description":6309,"tags":6310,"thumbUrl":6311,"material":140,"size":6312,"collection":179,"collections":6313,"showCount":6296,"zanCount":48,"manualWeight":48,"mainColor":49},223339,"er-lang-shen-sou-shan-tu-juan-yi-ming-223339","二郎神搜山图卷","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,24,25,26,29,28,61,30,7,1855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a66aa3c0dc8d8069db69e347e0a460.jpg","53×561cm",[],{"id":6315,"slug":6316,"title":6317,"dynasty":18,"author":1865,"museum":20,"description":6318,"tags":6319,"thumbUrl":6321,"material":936,"size":6322,"collection":42,"collections":6323,"showCount":6296,"zanCount":928,"manualWeight":48,"mainColor":128},221485,"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[23,24,25,26,114,475,118,3767,120,153,881,341,7,500,674,6320],"水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纵21.4厘米，横195.8厘米",[42,124,103],{"id":6325,"slug":6326,"title":5078,"dynasty":18,"author":6327,"museum":368,"description":6328,"tags":6329,"thumbUrl":6330,"material":78,"size":6331,"collection":44,"collections":6332,"showCount":6296,"zanCount":11,"manualWeight":48,"mainColor":49},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","萧照","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,152,24,25,26,29,28,59,118,61,62,30,7,90,116,70,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[44],{"id":6334,"slug":6335,"title":6336,"dynasty":54,"author":55,"museum":266,"description":6337,"tags":6338,"thumbUrl":6339,"material":78,"size":179,"collection":124,"collections":6340,"showCount":6296,"zanCount":928,"manualWeight":48,"mainColor":49},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[24,25,202,29,28,30,59,61,62,90,116,7,117,64,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[124],{"id":6342,"slug":6343,"title":6344,"dynasty":18,"author":713,"museum":167,"description":6345,"tags":6346,"thumbUrl":6349,"material":78,"size":6350,"collection":124,"collections":6351,"showCount":6296,"zanCount":48,"manualWeight":48,"mainColor":128},219388,"ma-gu-cai-zhi-xian-tu-liu-song-nian-219388","麻姑采芝仙图","画中一众仙姑，结伴山间采药，正在林间休息。不知何故，仙姑们的发际线严重退后，仅剩一光溜的脸蛋，状貌甚异，身板瘦削，可能是日夜忙碌劳累所致。画中人物用线与山石、松树一般呆硬，人物形象、树、石套路严重，或为明末或清代早期的画作。",[24,28,61,30,117,7,170,6347,6348,6113],"麻姑","采芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca18f2756764adf26aa0982d7262715.jpg","116.4x82.1厘米",[124,44],{"id":6353,"slug":6354,"title":6355,"dynasty":223,"author":1431,"museum":514,"description":6356,"tags":6357,"thumbUrl":6358,"material":303,"size":6359,"collection":103,"collections":6360,"showCount":6296,"zanCount":48,"manualWeight":48,"mainColor":985},219177,"song-lin-shu-wu-tu-gong-xian-219177","松林书屋图","全图笔墨恣肆，气象氤氲，以竹林、书屋等景观构造了一个理想的隐逸世界。左上自题七言诗一首，末署“甲子初秋半亩龚贤并题”。钤“臣贤私印”、“半千”二印。甲子为康熙二十三年，公元1684年，作者时年86岁。",[23,24,114,118,202,30,5358,1877,117,204,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09717ac0071d60023828679c622fb9e.jpg","纵274.5 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任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。\n王鉴的祖父王世贞（1526年— 1590年）是晚明著名文人、鉴藏家和显宦，官至南京刑部尚书，精古诗文，与李攀龙等并称“后七子”，为文坛盟主；富收藏，尔雅楼中藏书万卷，书画文物无数；著有《弇州山人四部稿》、《艺苑后言》等。父王士骥，万历十七年（1589年）进士，官吏部员外郎。王鉴出身于这样一个文学世家和官宦门第，自幼即受到良好的文化教养和艺术熏陶，“缔岁即好点染”，他亦自述：“自幼习董熟耳。”表明他最早学画是从董源入手的。以后又追踪巨然和元四家，万历四十五年（1617年）时的《仿云林山水轴》和天启元年（1621年）拟巨然的《山水图》，可证其最早的画学渊薮。",[152,24,25,202,114,118,60,30,243,7,540,244,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg",[124,103],{"id":6422,"slug":6423,"title":6424,"dynasty":223,"author":381,"museum":20,"description":6425,"tags":6426,"thumbUrl":6427,"material":360,"size":6428,"collection":179,"collections":6429,"showCount":6404,"zanCount":11,"manualWeight":48,"mainColor":128},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","图绘疏林湖畔高士拽杖独行的情景。设景布势以“S”形湖堤为主线，通过对近景树石的具象描绘，烘托出远山平湖的虚空迷蒙，画面空间在景致的虚实互映中得“咫尺千里”之趣。画中的山石杂木以饱含水分的润墨表现，点染生动，显现出作者较强的笔墨驾驭能力。此图并非对实景写生，而是作者“搜尽奇峰打草稿”后的胸中丘壑的写照，面目独具，妙得自然。",[24,114,202,118,30,63,64,7,35,117,156,289,463,761,500,138,1044,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],{"id":6431,"slug":6432,"title":6433,"dynasty":990,"author":2220,"museum":56,"description":6434,"tags":6435,"thumbUrl":6436,"material":140,"size":6437,"collection":179,"collections":6438,"showCount":6404,"zanCount":48,"manualWeight":48,"mainColor":49},232624,"hai-tian-xu-ri-tu-juan-li-zhao-dao-232624","海天旭日图卷","此卷以青绿为主调，山峰勾以全绿，所画人物细小如豆，亭台楼阁、海浪舟桥，无不形象生动，尤其画幅中上方有一金龙，腾云驾雾，整个局面宏伟壮阔、气势不凡。",[23,24,27,28,26,29,30,881,243,69,37,3817,7,35,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc0164cbe171565b2c95e35e12fa8cf.jpg","47.1 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197.4厘米",[],{"id":6440,"slug":6441,"title":6442,"dynasty":18,"author":5258,"museum":20,"description":6443,"tags":6444,"thumbUrl":6445,"material":28,"size":6446,"collection":42,"collections":6447,"showCount":6404,"zanCount":48,"manualWeight":48,"mainColor":49},221439,"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[23,24,25,152,30,118,114,28,117,204,7,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[42,124,103],{"id":6449,"slug":6450,"title":6451,"dynasty":54,"author":955,"museum":368,"description":6452,"tags":6453,"thumbUrl":6455,"material":6456,"size":6457,"collection":124,"collections":6458,"showCount":6404,"zanCount":928,"manualWeight":48,"mainColor":1138},220896,"jiu-feng-han-cui-tu-dong-qi-chang-220896","九峰寒翠图","董其昌书法上有“邢张米董”之称，即把他与临邑邢侗、晋江张瑞图、须天米钟并列；绘画上有南董北米之说。莫是龙、陈继儒提倡“南北宗”之说，即把“院体”山水画与“文人画”分为南北两派。董其昌一生创作的书画作品不可胜数，临仿古人的绘画和诗帖是其中的一个重要部分。他在《画禅室随笔》中所说的“读万卷书”正是指一个人要想成为艺术家，必须学习传统，学习古人。他17岁开始学习书法时临写颜真卿的《多宝塔》，22岁学习绘画时师法黄公望，以后又遍学诸家，这种以古人为师的作法八十而不辍，伴其终生。他广泛吸取对唐宋元诸家优长，抉精探微，使其书画取得了超越古人的艺术成就。\n在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵佶、米芾诸名家法书，于万历三十一年（1603年）刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸，他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。",[23,152,24,25,202,114,28,118,30,994,117,500,344,7,6454,413],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 墨笔","123.7cmx46cm",[124,103],{"id":6460,"slug":6461,"title":6462,"dynasty":18,"author":4160,"museum":167,"description":6463,"tags":6464,"thumbUrl":6465,"material":28,"size":179,"collection":42,"collections":6466,"showCount":6404,"zanCount":48,"manualWeight":48,"mainColor":128},220337,"song-ren-yuan-hua-ce-2-sheng-mao-220337","宋人院画册-2","此作绘秋江渔隐之境，近岸林木枯柔相生，苍枝虬曲间柔柳垂拂，刚柔相衬愈见山野意趣。滩头渔舟静泊，舟中二人对坐晤谈，将江湖闲散的逸致娓娓铺展。平湖澹澹，水鸟掠波惊起细碎涟漪，远山如黛晕染天际，留白晕出水天寥廓空濛。\n\n笔墨工秀兼带写意松灵，设色浅淡清润，将江南水畔的清寂淡远揉入尺幅之中，把渔樵寄情山水的隐逸诗意藏进边角细节，尽显宋人平淡天真的美学意趣，是宋式山水小品里野逸闲情的绝佳写照。",[23,24,25,385,28,30,115,462,156,7,64,639,500,674,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58769b723ca1095e59ebae7b52a1713d.jpg",[42],{"id":6468,"slug":6469,"title":6470,"dynasty":54,"author":955,"museum":266,"description":6471,"tags":6472,"thumbUrl":6473,"material":303,"size":6474,"collection":124,"collections":6475,"showCount":6404,"zanCount":928,"manualWeight":48,"mainColor":128},220002,"pei-jin-gong-shi-yi-tu-dong-qi-chang-220002","裴晋公诗意图","此图是董其昌仿黄公望笔法画唐代裴度的诗意。题跋：门径俯清溪，茅檐古木齐。红尘飞不到，时有小禽啼。君山丈见访海上，写此为赠。补裴晋公（度）诗意图也。 丁已正元三日玄宰识。",[23,24,25,202,114,118,30,117,7,35,61,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c018965263283f7d9de23c6134c8ab.jpg","130.5×39.2cm",[124],{"id":6477,"slug":6478,"title":6479,"dynasty":223,"author":3775,"museum":20,"description":6480,"tags":6481,"thumbUrl":6482,"material":78,"size":6483,"collection":124,"collections":6484,"showCount":6404,"zanCount":48,"manualWeight":48,"mainColor":49},218495,"shan-shui-tu-zhou-wu-li-218495","山水图轴","吴历（1632—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。少年时遭遇明亡，信奉佛教，后转为信奉基督教。曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。吴历以其独到的艺术风貌与“四王”、恽寿平并称“清初六大家”。据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,24,202,114,118,30,341,342,7,35,63,244,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6b4dd37202170810c221a4959124c1.jpg","64.9x32cm",[124],{"id":6486,"slug":6487,"title":2439,"dynasty":133,"author":4160,"museum":423,"description":6488,"tags":6489,"thumbUrl":6492,"material":78,"size":6493,"collection":124,"collections":6494,"showCount":6404,"zanCount":48,"manualWeight":48,"mainColor":49},217866,"chun-shan-you-qi-tu-sheng-mao-217866","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[24,30,28,118,61,90,63,62,116,7,117,1044,500,674,69,6490,6491,206],"游骑","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[124],{"id":6496,"slug":6497,"title":6498,"dynasty":18,"author":312,"museum":459,"description":6499,"tags":6500,"thumbUrl":6504,"material":808,"size":809,"collection":179,"collections":6505,"showCount":6506,"zanCount":11,"manualWeight":48,"mainColor":49},289131,"hu-pan-you-ju-tu-xia-gui-289131","湖畔幽居图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[2895,24,152,30,114,118,63,64,116,7,504,500,6501,6502,61,5361,6503],"湖畔","幽居","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c2afeea3f577fe63a183d96a3c4ef6.jpg",[],85,{"id":6508,"slug":6509,"title":4836,"dynasty":223,"author":434,"museum":459,"description":6510,"tags":6511,"thumbUrl":6512,"material":808,"size":809,"collection":179,"collections":6513,"showCount":6506,"zanCount":928,"manualWeight":48,"mainColor":49},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[23,24,25,26,27,28,30,60,29,118,243,7,37,32,35,676,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],{"id":6515,"slug":6516,"title":6517,"dynasty":18,"author":671,"museum":459,"description":6518,"tags":6519,"thumbUrl":6520,"material":179,"size":179,"collection":179,"collections":6521,"showCount":6506,"zanCount":11,"manualWeight":48,"mainColor":49},227515,"xi-qiao-xian-shui-tu-zhou-mi-fei-227515","溪桥闲睡图轴","米芾平生书法用功最深，成就以行书为最大。南宋以来的著名汇帖中，多数刻其法书，流播之广泛，影响之深远，在北宋四大书家中，实可首屈一指。康有为曾说:唐言结构，宋尚意趣。意为宋代书法家讲求意趣和个性，而米芾在这方面尤其突出。\n米芾习书，自称集古字，虽有人以为笑柄，也有赞美说天姿辕轹未须夸，集古终能自立家(王文治)。这从一定程度上说明了米氏书法成功的来由。根据米芾自述，在听从苏东坡学习晋书以前，大致可以看出他受五位唐人的影响最深:颜真卿、欧阳询、褚遂良、沈传师、段季展。\n米芾作为北宋著名的画家，处在一个文人画的成熟时代，其绘画题材十分广泛，人物、山水、松石、梅、兰、竹、菊无所不画;米芾在山水画上成就最大，但他不喜欢危峰高耸、层峦叠嶂的北方山水，更欣赏的是江南水乡瞬息万变的烟云雾景，天真平淡，不装巧趣的风貌;所以米芾在艺术风格里追求的是自然。他所创造的米氏云山都是信笔作来，烟云掩映。",[23,24,152,202,114,30,118,63,64,61,7,204,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fc0c226ae1c64375a959be6d59f6a7.jpg",[],{"id":6523,"slug":6524,"title":1607,"dynasty":54,"author":5967,"museum":1202,"description":6525,"tags":6526,"thumbUrl":6527,"material":230,"size":6528,"collection":124,"collections":6529,"showCount":6506,"zanCount":48,"manualWeight":48,"mainColor":128},222076,"fang-wang-meng-shan-shui-tu-xie-shi-chen-222076","此图为谢时臣的细笔山水佳作。写溪山胜境，山岚层叠，丘壑玲珑，栈道盘旋延伸，楼阁亭轩错落，士人童仆其中，还有雾气升腾，飞瀑直泻，湖光粼粼。画山石用解索皴，点苔用渴墨，皆为黄叔明笔法。此图布局稠密，笔势纵横，墨色淡雅，清丽潇洒。",[23,24,475,60,118,114,117,7,62,63,64,213,116,61,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bcb0d43ecbe7f8e987e7ae1d117aaa.jpg","58.5X31.2cm",[124,103],{"id":6531,"slug":6532,"title":6533,"dynasty":133,"author":6534,"museum":167,"description":6535,"tags":6536,"thumbUrl":6538,"material":6539,"size":6540,"collection":124,"collections":6541,"showCount":6506,"zanCount":928,"manualWeight":48,"mainColor":49},221689,"yun-heng-xiu-ling-zhou-gao-ke-gong-221689","云横秀岭轴","高克恭","画面上高岭秀拔，烟树云横，清涧流泉，木桥孤亭。笔法厚重，设色浓郁，气韵流润。山顶部分树头作青绿横点，山下坡角多用“披麻”皴法间施赭色，吸收了董源、米芾二家法，别开生面，自成家数，是高氏山水画代表作。本幅无作者款印，上方元邓文原、李衎二题称此图为高氏所画，当可信。李衎题云：“予谓彦敬画山水，秀润有余而颇乏笔力，常欲以此告之，宦游南北不得会面者今十年矣。此图树老石苍，明丽洒落，古所谓有笔有墨者，使人心降气下，绝无可议者”。该题时在至大己酉(19)六月，是高氏去世前一年。高氏创作此图的时间应在此前不久。本幅尚有清乾隆皇帝弘历题诗一首，并钤乾隆诸玺。《石渠宝笈》等书著录。",[23,24,475,202,114,28,118,881,341,6537,7,206,117,37,211],"岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57a3b151c29770cbb6ae78260a23de70.jpg","绢本，重设色","纵182.2厘米，横16.7厘米",[124,103],{"id":6543,"slug":6544,"title":6545,"dynasty":223,"author":434,"museum":20,"description":6546,"tags":6547,"thumbUrl":6552,"material":78,"size":6553,"collection":44,"collections":6554,"showCount":6506,"zanCount":11,"manualWeight":48,"mainColor":49},220348,"yong-zheng-di-ji-xian-nong-tan-tu-yi-ming-220348","雍正帝祭先农坛图","先农坛位于北京外城永定门内，始建于明永乐十八年（1420年），嘉靖年间扩建，是明清两代皇帝祭祀农神、祈求丰收的地方。根据史料记载，雍正皇帝在位期间十分重视农业生产，曾多次前往先农坛参加祭祀典礼。《雍正帝祭先农坛图》卷就是这样一件描绘他在先农坛祭祀农神活动的纪实性绘画作品。 　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 　　《雍正帝祭先农坛图》卷分上、下两卷，此为上卷，下卷现藏法国巴黎吉美博物馆。上、下两卷分别表现皇帝祭农神和扶犁耕耤田，由此构成皇帝祭祀农神活动的全部内容。",[23,29,28,59,26,61,399,1145,6548,7,411,592,6549,6550,6551,1420,74],"祭祀","灯笼","队伍","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a092cf9f7664e9f3ae86d57249b632e.jpg","纵61.8厘米，横467.8厘米",[44,45],{"id":6556,"slug":6557,"title":6558,"dynasty":54,"author":6559,"museum":167,"description":6560,"tags":6561,"thumbUrl":6562,"material":303,"size":6563,"collection":124,"collections":6564,"showCount":6506,"zanCount":48,"manualWeight":48,"mainColor":128},214587,"mo-gu-shan-shui-ce-fang-mei-hua-an-zhu-bi-yi-bian-wen-yu-214587","摹古山水册-仿梅花庵主笔意","卞文瑜","明代画家卞文瑜的摹古山水册是一件著名的绘画作品，其中的仿梅花庵主笔意图是一件精美的山水画作品。\n\n卞文瑜是明代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在摹古山水册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n仿梅花庵主笔意图是卞文瑜摹古山水册中的一幅精美的山水画作品。画中的山水风景清新自然，体现了卞文瑜对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n总的来说，卞文瑜的摹古山水册是一件精美的绘画作品，其中的仿梅花庵主笔意图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了卞文瑜对自然的热爱和对传统文化的尊重。",[152,24,25,385,114,60,118,30,63,64,7,117,35,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdefabc9be72fadfaa55a3b8a6b54b6.jpg","30.7x21.8cm",[124],{"id":6566,"slug":6567,"title":6568,"dynasty":223,"author":3836,"museum":266,"description":3837,"tags":6569,"thumbUrl":6570,"material":360,"size":3840,"collection":179,"collections":6571,"showCount":6506,"zanCount":928,"manualWeight":48,"mainColor":49},214356,"san-jue-shan-shui-ce-4-hua-yan-214356","三绝山水册-4",[23,24,25,385,28,114,118,30,117,7,64,1705,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472b6ddb8c19b4a43c8b7bba13cd7d00.jpg",[],{"id":6573,"slug":6574,"title":6575,"dynasty":223,"author":325,"museum":459,"description":6576,"tags":6577,"thumbUrl":6582,"material":179,"size":179,"collection":179,"collections":6583,"showCount":6584,"zanCount":666,"manualWeight":48,"mainColor":128},230206,"yuan-ming-yuan-tong-ban-hua-lang-shi-ning-230206","圆明园铜版画","《圆明园铜版画》是清代郎世宁于1724年创作的纸本画，共2开。\n本幅无款印。\n清雍正二年（1724年）， 皇帝决定扩建康熙年间即已开始兴建的 。\n在雍正、乾隆两朝持续不断的大规模扩建中，通晓西洋建筑学的 曾与法国传教士 、 等一起参与园内著名的“西洋楼”的设计和工程督造，并有机会在较长的时间里住在这座东方名园内，为装饰殿堂画了多幅作品，其中既有欧洲风格的油画，也有以欧洲 在平面上表现深远效果的“线法画”。\n虽然郎世宁在圆明园的这些创作由于兵燹的劫难早已湮没无存，但从此册铜版组画中，我们仍然可以看到郎世宁等西洋宫廷画家在宫廷建筑绘画上的高超造诣与成就。\n这组完全西式的铜版组画也成为清代宫廷建筑绘画全新技法的代表作。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[2818,29,59,410,62,6578,694,7,117,6579,69,70,6580,173,6581],"喷泉","水池","雕塑","对称布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f65b9eb8fabb63e8ae379edc225897.jpg",[],84,{"id":6586,"slug":6587,"title":6588,"dynasty":54,"author":434,"museum":459,"description":6589,"tags":6590,"thumbUrl":6591,"material":808,"size":809,"collection":179,"collections":6592,"showCount":6584,"zanCount":48,"manualWeight":48,"mainColor":985},228411,"wen-shu-xiang-yi-ming-228411","文殊像","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[152,24,25,3402,923,29,28,61,30,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d6a64a1e16572aa440c8f1e0300caf.jpg",[],{"id":6594,"slug":6595,"title":6596,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":6597,"thumbUrl":6608,"material":808,"size":809,"collection":3244,"collections":6609,"showCount":6584,"zanCount":48,"manualWeight":48,"mainColor":49},225728,"cafe-terrace-at-night-fan-gao-225728","Cafe Terrace at Night",[152,3239,3240,28,6598,6599,6600,689,71,69,6601,6602,6603,7,6604,6605,6606,61,5404,6607,1459],"夜晚","咖啡馆","露台","星空","鹅卵石街道","灯光","遮阳篷","窗户","门","星星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc99b9b8fa41b5faffd98b459fbff668a.jpg",[3244],{"id":6611,"slug":6612,"title":6613,"dynasty":18,"author":434,"museum":111,"description":6614,"tags":6615,"thumbUrl":6617,"material":415,"size":6618,"collection":42,"collections":6619,"showCount":6584,"zanCount":928,"manualWeight":48,"mainColor":49},223660,"zha-kou-pan-che-tu-yi-ming-223660","闸口盘车图","是宋代界画精品之一，为典型的“宣和装”，留有“宣和七玺”中的四枚。该卷屋宇楼榭，向背分明，斗拱铺作，不失绳墨。虽然台门有制、界画有度，但画家却用高超的技法突破题材的限制，生动呈现了一幅官营水磨作坊的日常情景。清代成亲王跋云：“雏凤楼中宝绘，须以此为第一，与汉瓦唐琴辉映千古。”",[23,152,24,25,26,59,29,28,61,62,64,94,89,7,36,6616],"劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550c385948591bb6e2aac1ff29f0ea9f.jpg","纵55.4厘米横124.1厘米",[42,45],{"id":6621,"slug":6622,"title":6623,"dynasty":54,"author":2835,"museum":167,"description":6624,"tags":6625,"thumbUrl":6626,"material":230,"size":6627,"collection":124,"collections":6628,"showCount":6584,"zanCount":11,"manualWeight":48,"mainColor":49},222525,"shan-ting-wen-hui-tu-wang-fu-222525","山亭文会图","此图是王绂的代表作，写文人雅士于山亭聚会的情景。该图立意古逸，构图严谨。图中笔墨浑厚华滋，在继承元代文人画的基础上融合进了自己的笔意。山石先以枯淡墨皴写，按结构层层叠加，最后以浓重墨勾勒点苔，使整幅画面有苍润之感。\n此画立意古逸，构图严谨，山上小溪、泉水流淌有声，山下河中可泛舟，山林间亭台楼阁隐现，这是一处可游可居的幽雅胜境。近景古朴山亭中已有几个文人在那里论诗作画，山下还有文人或乘舟、或步行赶来应约赴会。此图山水胜境为文人雅集提供了优美环境，文人雅集又为山水胜境增添了诗情画意。\n此画笔墨深厚滋润，结构繁密，但密而不塞。画法上颇富于变化，是在王蒙的章法上加以变化而来。山石皴法点苔，似从王蒙法度中来，然后用笔粗犷，又有新意。有的山石以枯笔作解索皴，兼用乱柴皴、小斧劈皴，笔线富于动感。然后层层迭染，最后以浓墨勾皴打点，积墨层层，显得凝重厚实。树木和茅亭的画法在王蒙、倪瓒之间，笔力雄劲，墨气沉厚。即使山顶的小树，也一一画出树干，各具形态，而不是元画中常见的以点为树的处理。整个画面具有既苍茫湿润又清灵爽利的特殊效果。",[24,25,202,114,118,30,116,61,7,117,64,37,502,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15b31f796803782232999124a14bbe4.jpg","纵219厘米，横87.6厘米",[124,103],{"id":6630,"slug":6631,"title":6632,"dynasty":54,"author":2636,"museum":167,"description":6633,"tags":6634,"thumbUrl":6635,"material":140,"size":6636,"collection":124,"collections":6637,"showCount":6584,"zanCount":48,"manualWeight":48,"mainColor":128},221969,"fang-wang-meng-shan-shui-zhou-wen-zheng-ming-221969","仿王蒙山水轴","该幅画叠峦飞瀑，山溪蜿蜒。全作景密而笔松，意精而迹放，清奇浑厚。此帧纸狭而长，构景重叠而繁复。徵明晚年好作此种，晚期吴派亦多受此影响。\n五月五日，仿王蒙山水轴。此幅构景重叠而繁复，略似沈周庐山高，而庐山高为宽纸短幅，其中时以云水隔断，此帧纸狭而长，峰峦晴爽，故更觉繁密重叠也。徵明晚年好作此种，晚期吴派亦多受此影响。结顶一山，石纹勾勒，甚为奇特，董其昌山水，常在群山中一两处作奇石，盖亦自此出。\n此帧董其昌旁题云：“文待诏仿黄鹤山樵，几欲乱眞”，是出自由衷之赞语。此帧景密而笔松，意精而迹放，清奇浑厚，兼而有之。是大家悉力之作。",[23,24,202,114,118,60,30,117,7,204,116,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd029fea8a32761fc2fa01e64733e96fa.jpg","全幅 57.2公分",[124,103],{"id":6639,"slug":6640,"title":599,"dynasty":18,"author":6641,"museum":3521,"description":6642,"tags":6643,"thumbUrl":6644,"material":114,"size":6645,"collection":42,"collections":6646,"showCount":6584,"zanCount":48,"manualWeight":48,"mainColor":49},221505,"shan-shui-tu-yan-ci-yu-221505","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[23,24,152,25,28,118,30,117,7,37,244,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184450a2d438fd377bdc81ab7f969dee.jpg","24.6×26.0",[42,124,103],{"id":6648,"slug":6649,"title":6650,"dynasty":876,"author":6651,"museum":167,"description":6652,"tags":6653,"thumbUrl":6654,"material":360,"size":6655,"collection":124,"collections":6656,"showCount":6584,"zanCount":48,"manualWeight":48,"mainColor":49},221014,"shan-shan-tu-juan-dai-kui-221014","剡山图卷","戴逵","戴逵（326－396年），字安道，谯郡铚县（今安徽省濉溪县临涣镇）人。东晋时期隐士、美术家、雕塑家，金城太守戴绥之子。\n\n早年师从名儒范宣，博学多才，善于鼓琴，工于绘画人物和山水。终身不仕，坚拒太宰武陵王（司马晞）召命和王徽之雪夜拜访。\n\n孝武帝司马曜即位，累次征辟，全部不就。太元二十一年，去世。著有《戴逵集》9卷，今已散佚。",[23,152,24,25,26,28,118,30,243,7,117,358,413,153,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b825446ccfc90b423b206be2232fcac.jpg","38.4x615",[124,45],{"id":6658,"slug":6659,"title":6660,"dynasty":18,"author":6661,"museum":167,"description":6662,"tags":6663,"thumbUrl":6664,"material":78,"size":6665,"collection":42,"collections":6666,"showCount":6584,"zanCount":48,"manualWeight":48,"mainColor":985},220218,"jiang-shan-xue-ji-tu-lou-guan-220218","江山雪霁图","楼观","楼观（公元13世纪）南宋钱塘（今浙江杭州）人，生卒年不详。\n南宋理宗赵昀朝（1225—1264）为画院祗候，《画史会要》谓其为度宗赵樭朝咸淳（1265—1274）时画院祗候，与马远齐名。\n工画花鸟、人物、山水，师马远，又得夏圭笔法，遂为马夏派。\n善画小品，咫尺千里意趣盎然，尝画《霁雪行旅图》，用小斧劈皴法画崖石，树枝草上俱用粉作雪。\n所作《映月梅花图》，方绢本，设色，梅花如雪，明月悬枝，清光一轮，恍如特照，该画款书臣楼观三字于右角梅枝隙处，上朋理宗赵昀对题：芳意饶呈瑞，寒光助照人。著录于《珊瑚网》。\n传世作品有《江头泊舟图》纨扇，录于《浙江古代画家作品集》《石勒问道图》轴今流入美国。",[23,152,24,475,5161,28,118,341,747,4848,35,7,748,117,62,73,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa81f7cf0473656e7949a9c3ffe65af.jpg","纵153.4公分，横91公分",[42,124],{"id":6668,"slug":6669,"title":6670,"dynasty":133,"author":355,"museum":266,"description":6671,"tags":6672,"thumbUrl":6673,"material":360,"size":6674,"collection":124,"collections":6675,"showCount":6584,"zanCount":48,"manualWeight":48,"mainColor":128},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[23,24,25,26,114,28,30,116,62,63,64,7,579,118,120,438,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[124],{"id":6677,"slug":6678,"title":6679,"dynasty":54,"author":6680,"museum":20,"description":6681,"tags":6682,"thumbUrl":6684,"material":78,"size":6685,"collection":124,"collections":6686,"showCount":6584,"zanCount":11,"manualWeight":48,"mainColor":49},219127,"yan-jiang-yuan-tiao-tu-zhu-duan-219127","烟江远眺图","朱端","此图作全景山水，取景开阔，山高水远。前景画坡岸高树，雅士临江远眺；中景巨峰突起，陡然屹立；远景舟船重峦置于迷蒙的烟霭之间，随山势渐远。作品承传李成、郭熙派系的意韵与气魄，笔法简劲，墨色秀润，树石勾染精细，设色淡雅。",[23,24,114,28,202,30,118,115,7,244,500,66,61,6683,153],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1843cff6121583b9f2e9339e3c4eeb.jpg","纵168.2厘米，横107厘米",[124],{"id":6688,"slug":6689,"title":6690,"dynasty":133,"author":2527,"museum":167,"description":6691,"tags":6692,"thumbUrl":6693,"material":303,"size":6694,"collection":124,"collections":6695,"showCount":6584,"zanCount":928,"manualWeight":48,"mainColor":128},218168,"xi-ting-qiu-se-tu-zhao-yuan-218168","溪亭秋色图","《溪亭秋色图》，以墨笔画苍崖古木，溪边水阁。图的左下有作者自署“赵原画”，右上方题有 “有山可樵有水可渔歌彼考槃吾将归欤”，似是点题，但无落款。\n此图笔墨圆润苍秀，变化多端，画风纯熟，应为画家晚年之作。山石勾皴简率，颇有写意之趣；笔锋略带侧锋，类似王蒙的解索皴，但偏于疏朗松秀。通幅墨色清润 恬淡，不重渲染，只在山体的结构折转处加苔点或勾以丛树、垂草，画面极为平淡宁静。这种境界，在方从义的《武夷放棹图》、陆广的《丹台春晓图》中也可感觉 到，这可以说是一种元代文人画的理想境界。但元代画家过于将绘画视作个人“自娱”的笔墨游戏，难以适应明代建国初期的政治文化环境，赵原也就难免悲剧的命运。",[23,24,114,202,118,119,153,30,116,7,117,64,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3876b8debab1f36f397d0417acb9bd.jpg","纵61.4厘米，横26厘米",[124],{"id":6697,"slug":6698,"title":6699,"dynasty":223,"author":1998,"museum":20,"description":2151,"tags":6700,"thumbUrl":6701,"material":40,"size":2154,"collection":179,"collections":6702,"showCount":6703,"zanCount":48,"manualWeight":48,"mainColor":49},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴",[24,25,202,59,28,29,30,62,676,37,7,117,63,1044,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg",[],83,{"id":6705,"slug":6706,"title":6707,"dynasty":18,"author":86,"museum":459,"description":6708,"tags":6709,"thumbUrl":6710,"material":179,"size":179,"collection":179,"collections":6711,"showCount":6703,"zanCount":48,"manualWeight":48,"mainColor":49},227396,"jin-ming-chi-zheng-biao-tu-zhang-ze-duan-227396","金明池争标图","金明池坐落在北宋东京汴梁顺天门外（今河南开封城西），是当时著名的御苑之一。每年三月由皇帝赐令开放，并与士庶于此共观龙舟争标，郊游赏玩，成为京城一大盛事。靖康之变后，赵宋王朝南渡，“争标赐宴”则成为历史的陈迹，不复存在。因此传世近千年的北宋著名画家张择端所作《金明池争标图》成为我们领略当日繁华胜境的最直观方法。\n张择端，字正道，东武（今山东诸城）人，宋徽宗时画院待诏。工于界画，尤其擅长作舟船、市桥、城郭，所绘《清明上河图》可谓中国最著名的绘画作品，家喻户晓。此幅《金明池争标图》是其另一传世佳作。北宋张择端《金明池争标图》页，收藏于天津博物馆，纵28.5厘米、横28.6厘米，工笔设色绘于绢本之上。\n本图作者在不足一尺见方的绢本上将周围约九里三十步的金明池及岸边的景物、人物悉数生动摹画下来，且画面呈现出开阔、疏朗的布局。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。表现主题的龙舟竞标场景以一艘大型龙舟为中心，其两侧各有五艘小龙舟，每船头各立军校一名，舞旗招引，舟中桨手则奋力划棹，向前方标杆冲去。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。“临水殿”中皇帝赐宴群臣，共赏争标；池岸上百姓或观龙舟，或春游赏玩，或买卖交易……众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。",[23,152,24,25,59,29,28,62,36,66,61,1290,7,69,399,3599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b0e98ebb1fc83d5e69e50a542eff25.jpg",[],{"id":6713,"slug":6714,"title":6715,"dynasty":18,"author":434,"museum":167,"description":6716,"tags":6717,"thumbUrl":6718,"material":140,"size":6719,"collection":42,"collections":6720,"showCount":6703,"zanCount":48,"manualWeight":48,"mainColor":49},223565,"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,24,25,202,28,30,118,341,747,1644,156,7,116,35,244,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[42,124,103],{"id":6722,"slug":6723,"title":6724,"dynasty":223,"author":6725,"museum":459,"description":6726,"tags":6727,"thumbUrl":6730,"material":40,"size":6731,"collection":44,"collections":6732,"showCount":6703,"zanCount":928,"manualWeight":48,"mainColor":128},223328,"qun-xian-zhu-shou-shou-juan-ren-yi-223328","群仙祝寿手卷","任颐","《群仙祝寿图》作于金笺之上，由十二条通景画构成。表现46个神仙人物共赴王母的寿筵祝寿的仙灵境界，场面宏大，内容祥瑞。对于这幅巨制，唐云先生曾写文章谈到，“‘群仙祝寿图’，尽管是在描写民间传说中的神仙故事，但一举一动都反映出人的性格和情感。把行动诡异的仙人和举止窈窕的仙女种种神态，对照起来看，分外有趣。仙女和仙人，有从空中来，有从海上来，来的地方不同，画面似将各地不同的习惯和性情都表达出来了。一只白鹤，忙着跨上白玉阑干，展翅起舞，回头迎生，竟似一个仙女在拍手热烈欢迎仙宾的情感一样。一对孔雀，也有不同性情:一只爱凑热闹，凝神看着一个举袖轻舞的仙女，另一只似乎嫌太烦乱了，飞到荷香深处，安踞石上，静听着仙女们演奏的美妙音乐，景态十分生动。十二幅通景屏，幅幅风光旖旎，融洽愉快，充分表达了祝寿场面的气氛。”",[23,24,25,26,28,29,4310,30,2997,1856,62,2193,7,117,2725,6728,1344,6729,4014],"仙人","祝寿元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7fbafaea1f350faf3fa62a1bc3481.jpg","全图尺幅高206.8厘米，横宽720厘米（每幅条屏宽59.5厘米）",[44,45],{"id":6734,"slug":6735,"title":6736,"dynasty":54,"author":110,"museum":1202,"description":5869,"tags":6737,"thumbUrl":6738,"material":360,"size":5873,"collection":179,"collections":6739,"showCount":6703,"zanCount":48,"manualWeight":48,"mainColor":128},220031,"dong-zhuang-tu-ce-zhi-zhen-yi-gang-shen-zhou-220031","东庄图册之振衣冈",[23,152,24,25,385,114,30,61,117,7,994,64,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde339e30cbcb09c324052c43eb49532f.jpg",[],{"id":6741,"slug":6742,"title":2913,"dynasty":18,"author":550,"museum":167,"description":6743,"tags":6744,"thumbUrl":6745,"material":78,"size":6746,"collection":45,"collections":6747,"showCount":6703,"zanCount":48,"manualWeight":48,"mainColor":49},219046,"wen-ji-gui-han-tu-li-tang-219046","内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[23,152,24,25,202,118,114,28,30,61,62,7,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98081f5e1c3a4f47f750a16639f8f66.jpg","50.7公分*39.7公分",[45],{"id":6749,"slug":6750,"title":6751,"dynasty":18,"author":434,"museum":459,"description":6752,"tags":6753,"thumbUrl":6754,"material":78,"size":179,"collection":42,"collections":6755,"showCount":6703,"zanCount":48,"manualWeight":48,"mainColor":49},218582,"gong-yuan-tu-yi-ming-218582","宫苑图","飞檐翘角隐于松柳荫翳间，回廊曲折勾连亭榭深院。素衣宫人缓步庭阶，衣袂轻扬似携春风漫行。古绢底色晕染时光温润，笔墨细腻勾勒宋式雅致：柳枝垂丝如梳，松针攒簇似绣，格子窗棂映出廊下幽影，石畔苔痕晕开清寂氛围。构图疏密得宜，动静相谐——建筑的规整与草木的生机相映，人物的闲步与庭院的静谧相融，将宫苑深处的雍容闲寂悄然铺展，如一卷慢启的宋时清梦，每一处细节都藏着时光沉淀的温婉与考究。",[152,24,25,59,28,61,62,116,7,117,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb239ee50763d90f5622390b38b842e66.jpg",[42],{"id":6757,"slug":6758,"title":6759,"dynasty":133,"author":6760,"museum":56,"description":6761,"tags":6762,"thumbUrl":6765,"material":78,"size":6766,"collection":44,"collections":6767,"showCount":6703,"zanCount":48,"manualWeight":48,"mainColor":49},218312,"ying-xi-tu-han-cheng-218312","婴戏图","韩晟","这幅画描绘了一个农场，许多孩子在玩耍，四个孩子在玩滑梯，一个亭子在下棋和读书，院子里有一个骑士和一只蚂蚱。嬉戏打闹，无可否认地表达了孩子们的活泼、快乐、童真和美丽的外表。",[24,25,28,29,59,61,1170,62,116,70,7,6763,689,6764,624],"盆栽","玩具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189fe2b51b76e3feedecd63c68921ed.jpg","139.4x76.2",[44],{"id":6769,"slug":6770,"title":6771,"dynasty":54,"author":6772,"museum":423,"description":6773,"tags":6774,"thumbUrl":6775,"material":303,"size":6776,"collection":124,"collections":6777,"showCount":6703,"zanCount":928,"manualWeight":48,"mainColor":49},217064,"wang-wei-shi-yi-tu-hu-yu-kun-217064","王维诗意图","胡玉昆","胡玉昆是明朝时期的一位著名画家，他以其独特的诗意图风格而闻名于世。王维是一位著名的唐代诗人，他的诗作风格浪漫清新，富有诗意。胡玉昆在创作中结合了王维的诗作精髓，创造出了一种具有浓厚诗意的画风。\n\n胡玉昆的王维诗意图以山水画为主，但其中蕴含着诗意的元素十分丰富。他在画作中结合了唐代诗人王维的诗作风格，营造出一种浪漫清新的氛围。他经常使用抽象的手法来表现山水的美，并使用富有节奏感的线条来描绘山峰、水流、树木等元素。他的画作常常充满了诗意的气息，让人感受到一种自然界的静谧与美好。\n\n胡玉昆的王维诗意图在当时颇受欢迎，并且至今仍然被广泛欣赏。他的画作不仅仅是单纯的山水画，更是一种充满诗意的艺术表现。他的画作能够带给人们一种沉浸在自然界中的感觉，让人感受到大自然的美丽与和谐。",[24,25,114,30,118,37,62,116,115,35,7,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacd99ab5da0f731ac9ab42818e4bb69.jpg","95x71cm",[124],{"id":6779,"slug":6780,"title":6781,"dynasty":54,"author":757,"museum":459,"description":758,"tags":6782,"thumbUrl":6785,"material":78,"size":6786,"collection":44,"collections":6787,"showCount":6703,"zanCount":666,"manualWeight":48,"mainColor":49},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 长恨歌图卷(上卷)",[23,24,26,28,29,59,61,62,63,64,30,7,399,117,591,66,6783,70,173,592,1420,6784,116],"火焰","建筑群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e3d4c1126d36ec141e6a2311af7404.jpg","31.5x1048.4",[44],{"id":6789,"slug":6790,"title":6791,"dynasty":133,"author":134,"museum":459,"description":6792,"tags":6793,"thumbUrl":6794,"material":808,"size":809,"collection":179,"collections":6795,"showCount":6796,"zanCount":48,"manualWeight":48,"mainColor":128},290827,"dong-ting-qi-feng-zhou-huang-gong-wang-290827","洞庭奇峰轴","此作前景画小舟浮於湖面，其后山岩繁密多姿，高耸杂木散立，山巅处瀑布流泻，左方曲径没入云雾中，其上瑰丽峰峦斜出天表。画中可见黄公望作品中常见母题，然全作结构、山石、树法等，更接近文徵明风格。依题跋可知此画成于1354（元至正十四年）为梅剑庵所作；1410（永乐八年），梅氏后人请沈度（1357-1434）题跋；1510年（正德五年），文征明（1470-1559）亦获观此画，并留下题语。文征明题款“壁”字书为“璧”，与常见不同。此画笔墨、结构堪称佳构，然可能出自明代後期善仿文征明风格者之手。",[152,24,25,202,114,30,118,117,7,64,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83587d8c69519255b6c7d65b856a64.jpg",[],82,{"id":6798,"slug":6799,"title":6800,"dynasty":223,"author":2792,"museum":459,"description":6801,"tags":6802,"thumbUrl":6808,"material":179,"size":179,"collection":179,"collections":6809,"showCount":6796,"zanCount":928,"manualWeight":48,"mainColor":128},237592,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237592","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,114,958,118,30,117,7,676,64,204,35,2244,2508,201,6803,6804,6805,6806,6807,1430],"点染","山石皴擦","树木勾勒","山水意境","古典山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f3e122c7aae29ed9eacddd5644f01b.jpg",[],{"id":6811,"slug":6812,"title":6813,"dynasty":18,"author":2741,"museum":459,"description":6814,"tags":6815,"thumbUrl":6816,"material":179,"size":179,"collection":179,"collections":6817,"showCount":6796,"zanCount":48,"manualWeight":48,"mainColor":49},227513,"ming-huang-bi-shu-gong-tu-zhou-guo-zhong-shu-227513","明皇避暑宫图轴","《明皇避暑宫图》是北宋画家郭忠恕所创作的一幅墨笔画 ，现藏于大阪市立美术馆。\n《明皇避暑宫图》描绘唐明皇的避暑宫，背山面水，宏伟壮观。从图下的宫门向内，亭台楼阁、水榭宫室、长廊庭院，层层深入。单是屋脊斗拱，就不下十几座，无不刻画工细精确，结构严谨华丽。虽然楼阁密集，但有巨石、古树点缀其间，故而前后的层次清晰，加上左边的水色，与后山的空朦相映衬，却也疏密有致，雍容大度。\n《明皇避暑宫图》，勾线劲挺，虽说有界尺相助，但是众多的曲线，依然得徒手勾勒。",[23,24,25,202,59,29,28,30,62,69,7,117,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc3db0ed91249e6e8c0490e405536b5.jpg",[],{"id":6819,"slug":6820,"title":6821,"dynasty":18,"author":575,"museum":149,"description":6822,"tags":6823,"thumbUrl":6824,"material":415,"size":6825,"collection":42,"collections":6826,"showCount":6796,"zanCount":48,"manualWeight":48,"mainColor":128},221668,"diao-tai-wang-yun-tu-ma-yuan-221668","雕台望云图","画面描绘一处山中宫殿建筑。近处山脚下树林茂密，树木郁郁葱葱，将建筑掩映其中，左侧一座高台拔地而起，同远处山峰遥遥相望。石台台基宽厚，周围和右侧台阶边缘有护栏环绕，护栏下方的台身上有精美石雕。石台整体分为上下两层，第一层宽阔，台面呈回字形，中间是第二层的台基，周围摆放着花盆，中间台阶通往第二层。第二层上有一凉亭，周围置有几案、屏风、圆凳等家具。一人站在高台上，凭栏眺望。此时似乎是在准备宴席，侍者端着各式物品忙碌着。\n石台前方，其它建筑拱卫，远处山峰笔直入云，天空中风吹云动，一轮弯月高挂，同石台上眺望之人相呼应。",[23,24,25,152,28,59,30,62,116,881,7,243,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73943a72afefd8298acebb643c82055c.jpg","纵25.4厘米，横24厘米",[42,124],{"id":6828,"slug":6829,"title":6830,"dynasty":990,"author":991,"museum":459,"description":6831,"tags":6832,"thumbUrl":6833,"material":230,"size":6834,"collection":124,"collections":6835,"showCount":6796,"zanCount":48,"manualWeight":48,"mainColor":49},221145,"jiang-gao-hui-yu-tu-wang-wei-221145","江皋会遇图","王维（701年－761年，一说699年—761年），河东蒲州（今山西运城）人，祖籍山西祁县。唐朝著名诗人、画家，字摩诘，号摩诘居士。\n王维出身河东王氏，于开元十九年（731年）状元及第。历官右拾遗、监察御史、河西节度使判官。唐玄宗天宝年间，王维拜吏部郎中、给事中。安禄山攻陷长安时，王维被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，故世称“王右丞”。\n王维参禅悟理，学庄信道，精通诗、书、画、音乐等，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。苏轼评价其：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”存诗400余首，代表诗作有《相思》、《山居秋暝》等。著作有《王右丞集》、《画学秘诀》。\n此《著色山水》（江皋会遇图）据传为唐代著名诗人王维的山水作品。由于年代久远，已破损严重，泛黄变暗，依稀可见山水、树木与村落，卷首部分有北宋刘唐老的题跋。",[23,24,25,26,114,30,7,62,120,153,118,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45181fa423d8069ce2d2a5500fa3692.jpg","29x128厘米",[124,45],{"id":6837,"slug":6838,"title":6839,"dynasty":54,"author":955,"museum":167,"description":6840,"tags":6841,"thumbUrl":6842,"material":3867,"size":6843,"collection":124,"collections":6844,"showCount":6796,"zanCount":928,"manualWeight":48,"mainColor":128},220945,"feng-jing-fang-gu-tu-zhou-dong-qi-chang-220945","葑泾访古图轴","署款“壬寅首春，董玄宰寫。”幅上有陳繼儒題識。此畫構圖，可分遠景、中景、近景二部分，遠景為重山峻嶺，山頂光禿，山頂煙霧繚繞，山腳下為亂石橫卧，亂石間有幾株雜樹，樹下坐落一間茅屋。右側兩岸間有一板橋高架。中景為一片闊廣的河水，江水如鏡。近景為此畫的主要部分。下邊山石疊砌，山石間長有一棵幹粗葉茂的大樹，大樹下有數間屋宇茅亭。\n從此畫的構圖來看，作者有意識地運用了“層疊”、“重複”、“照應”等手段，使遠近高下統一在浮雕似的筆墨構成的平面意味中。畫法，由於董氏墨法的精微就在於種種墨色的累積，以樹石為例，對此畫大樹下邊那堆山石，是以淡墨連勾帶皺地寫其相依互抱，大小攢聚，就這樣把石的輪廓確定下來：至於此圖的用墨處和空白或無墨處，董氏着意於此，亦即以白當黑。有的山石不作着筆，大石上部則沿邊皆空白，於是每個石塊以其黑、白、陰、陽，表現立體感，而且它們之間左右較實，中間較虛，使畫面虛實互用而十分靈活。此畫中可看出董氏把黑白對襯，虛實相須，運用得十分自然，有着落筆時心手相應的那番快感。\n在此畫面中，董其昌追求一種“禪”的意境，即一種寂寞空虛的境界。畫面的疏密、濃淡、虛實、開合，富有清潤温雅、平和怡然的趣味，拙稚、簡淡中帶有寧靜自然的文人之思。",[23,24,25,202,114,30,118,63,64,7,117,69,153,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纵80厘米,横29.8厘米",[124,103],{"id":6846,"slug":6847,"title":6848,"dynasty":133,"author":1837,"museum":167,"description":6849,"tags":6850,"thumbUrl":6852,"material":140,"size":6853,"collection":124,"collections":6854,"showCount":6796,"zanCount":48,"manualWeight":48,"mainColor":49},220849,"song-yin-wan-zhao-tu-zhou-zhao-meng-fu-220849","松阴晚棹图轴","为学日益，为道日损：翩然世间的道家风格\n祸兮福之所倚，福兮祸之所伏：老子的智慧\n鲲鹏展翅，水击三千里：敞开自我的庄子境界\n朝三暮四，名实未亏而喜怒为用：庄子的寓言\n朴素而天下莫能与之争美：自然与本真的守护",[23,24,25,202,28,30,540,115,61,117,7,6851,2868,118],"湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde18f9b7e341d9b204fbc08d35aed1b4.jpg","152.6x79厘米",[124,45],{"id":6856,"slug":6857,"title":6858,"dynasty":133,"author":1837,"museum":111,"description":6859,"tags":6860,"thumbUrl":6861,"material":140,"size":6862,"collection":124,"collections":6863,"showCount":6796,"zanCount":928,"manualWeight":48,"mainColor":128},220846,"yan-jiang-die-zhang-tu-shi-juan-zhao-meng-fu-220846","烟江叠嶂图诗卷","《元赵孟頫题烟江叠嶂图》是元代时期赵孟頫创作的书法作品。\n赵孟頫实际书写的是北宋苏东坡题咏王诜《烟江叠嶂图》诗一首：江上愁心千叠峰，浮空积翠如云烟。\n山耶云耶远莫知，烟空云散山依然。\n赵孟頫墨迹传世虽多，惟大字却少见。\n从中不难看出其大字功夫之深。\n后文征明在赵孟頫书苏轼题王诜《烟江叠嶂图》诗后补水墨米家山水。",[23,24,25,26,114,120,119,30,118,6683,2420,31,64,2223,7,115,156,32,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[124,103],{"id":6865,"slug":6866,"title":6867,"dynasty":54,"author":537,"museum":4439,"description":6868,"tags":6869,"thumbUrl":6870,"material":303,"size":6871,"collection":124,"collections":6872,"showCount":6796,"zanCount":928,"manualWeight":48,"mainColor":128},219866,"kong-shan-ye-yu-tu-wen-zheng-ming-219866","空山夜雨图","古画中描绘山、水、雨、云乃至兰竹松梅时，若能兼具“画面写实”和“气韵灵动”两方特色，则该作可称佳品。如能在写实中抓住细节，落笔精致，则该作可成精品。若作者还能在此基础上别出心裁，融入巧妙出众的构思设计，则该作可为妙品。\n文徵明此作写景真实、韵致盎然，诚可谓“虚实相生”；在勾皴山石、铺排密林时用笔极细，落墨深浅错落，层次分明，林间篱笆、耕地农人的设计为画面增添生趣，亦反衬出山之“空”，与画作主题暗合；画面上方山峦滞重，山间雨雾轻灵，山下密林幽森，林间水溪温柔，排列有序，刚柔兼济。而此画最值称道者乃作者关于“雨意”的设计。画面中间部分以大块留白作山间云雾，将上方山峦与下部密林分割开来，山石、树林与云雾的衔接处以清淡水墨轻绘，呈现出类似“渐变”的神奇效果。濛雨淡云缭绕山间，尽书实景而灵韵生动，同时也使整幅画面不致因过满而有失轻盈。",[23,24,25,202,114,118,30,7,578,579,64,117,37,153],"https:\u002F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皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[23,152,24,25,202,114,118,912,30,341,7,35,37,64,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[124],{"id":6994,"slug":6995,"title":6996,"dynasty":133,"author":6997,"museum":167,"description":6998,"tags":6999,"thumbUrl":7000,"material":122,"size":7001,"collection":124,"collections":7002,"showCount":6937,"zanCount":11,"manualWeight":48,"mainColor":128},218433,"jiang-xiang-qiu-wan-tu-li-shi-xing-218433","江乡秋晚图","李士行","画上御制诗为乾隆二十七年四月第三次南巡时所作。由档案可知，此卷为史贻直（1682 —1763）于二月十二日在扬州贡进，他当时任文渊阁大学士兼吏部尚书，为可进献贡物的高级官员。从卷上「史铁珍藏书画」印亦可推知此画原为其藏品。李士行（1282 —1382）为元代画竹名家，此卷为其难得之山水画作。据笪重光（1623 —1692）题跋，此作在江南与〈鹊华秋色〉、〈师子林图〉等名迹并重。由于这两件名迹已经入藏宫中，因此当乾隆皇帝得到李士行此作时，才会欣喜地写下「鹊华师子仍同，足傲重光诩润州」。",[23,24,26,114,118,30,500,2695,7,32,33,775,2796,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5206a99d97c02c0778d6f18c6a6eb3.jpg","31x117.4cm",[124],{"id":7004,"slug":7005,"title":7006,"dynasty":223,"author":472,"museum":1202,"description":7007,"tags":7008,"thumbUrl":7009,"material":303,"size":7010,"collection":124,"collections":7011,"showCount":6937,"zanCount":48,"manualWeight":48,"mainColor":128},217885,"xia-shan-fei-pu-tu-wang-shi-min-217885","夏山飞瀑图","王时敏（1592年—1680年）明末清初画家。初名赞虞，字逊之，号烟客，自号偶谐道人，晚号西庐老人等，江苏太仓人，首辅王锡爵孙，翰林王衡独子。崇祯初以荫官太常寺卿，故被称为“王奉常”。擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。",[24,25,202,114,118,30,341,204,206,7,1705,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4aafdd248a746d5dca26f65ac644d6.jpg","106.2x48.2cm",[124],{"id":7013,"slug":7014,"title":7015,"dynasty":54,"author":801,"museum":167,"description":7016,"tags":7017,"thumbUrl":7019,"material":316,"size":7020,"collection":179,"collections":7021,"showCount":7022,"zanCount":928,"manualWeight":48,"mainColor":128},287291,"lin-li-bo-shi-yin-zhong-ba-xian-quan-tu-tang-yin-287291","临李伯时饮中八仙全图","以白描法绘人物35位，线条柔和隽秀，人物神态形象逼真；山石树木粗笔勾勒，再以浓墨烘染而成。此幅长卷达八米之长，场景开阔，绘出八仙喝茶听曲，悠闲自得的情景。",[23,24,152,26,25,437,114,60,61,7018,688,274,7,117,120,119],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef12bafcbc98b00a1a699522f02abb9b.jpg","23.8厘米*838厘米",[],80,{"id":7024,"slug":7025,"title":7026,"dynasty":54,"author":2636,"museum":20,"description":7027,"tags":7028,"thumbUrl":7029,"material":179,"size":179,"collection":179,"collections":7030,"showCount":7022,"zanCount":48,"manualWeight":48,"mainColor":128},234327,"wen-zheng-ming-shu-qian-chi-bi-fu-wen-cong-jian-bu-tu-juan-wen-zheng-ming-234327","文徵明书前赤壁赋文从简补图卷","文征明极为喜爱《赤壁赋》，一生之中曾以不同笔法多次书写，据戴立强《明文徵明行书前赤壁赋册记》中统计，仅传世之作就有16件，而周道振先生《文徵明年谱》中记载，更不止此数。“赤壁赋”题材作品无论是存世作品还是《年谱》中提及的作品，创作年代都在文徵明六十岁之后，即为其短暂的赴京任职之后的作品。文徵明在八十九岁高龄之时，更以苏轼笔意，为其《前赤壁赋》卷(台北故宫博物院藏)补写所缺36字，结字欹侧，肉盛于骨，形神兼备，直可乱真。\n文征明原名壁，字征明。后来改以征明为名，更字为征仲。成化六年（1470年）生于长洲（今苏州市），逝于嘉靖三十八年（1559年）享年90岁。祖籍湖南衡山，因号衡山。他不事权贵，尤不肯为藩王、中官作画，任官不久便辞官归乡，留有《甫田集》。\n文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[23,152,24,25,26,120,114,28,118,30,115,61,117,7,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],{"id":7032,"slug":7033,"title":7034,"dynasty":54,"author":434,"museum":3521,"description":7035,"tags":7036,"thumbUrl":7042,"material":230,"size":7043,"collection":179,"collections":7044,"showCount":7022,"zanCount":928,"manualWeight":48,"mainColor":49},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[23,24,26,28,29,118,30,1855,4537,90,7037,3095,7038,7039,7040,7,244,206,1665,7041],"象","山羊","狮子","猴","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","34.5x744厘米",[],{"id":7046,"slug":7047,"title":7048,"dynasty":223,"author":858,"museum":514,"description":859,"tags":7049,"thumbUrl":7052,"material":140,"size":869,"collection":179,"collections":7053,"showCount":7022,"zanCount":48,"manualWeight":48,"mainColor":1138},230110,"hong-lou-meng-280-sun-wen-230110","红楼梦280",[24,29,28,7050,7051,273,62,70,7,591,61,26],"红楼梦","大观园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b546e3871ae691d9c459756f0333ad1.jpg",[],{"id":7055,"slug":7056,"title":7057,"dynasty":18,"author":434,"museum":20,"description":6309,"tags":7058,"thumbUrl":7064,"material":40,"size":7065,"collection":179,"collections":7066,"showCount":7022,"zanCount":928,"manualWeight":48,"mainColor":49},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷",[23,24,152,25,26,29,28,61,30,1855,4537,7059,7060,7061,7062,7,117,156,5272,7063],"豹","鹰","蛇","兔","鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","纵53.3厘米，横533厘米",[],{"id":7068,"slug":7069,"title":7070,"dynasty":54,"author":55,"museum":111,"description":7071,"tags":7072,"thumbUrl":7074,"material":360,"size":7075,"collection":124,"collections":7076,"showCount":7022,"zanCount":928,"manualWeight":48,"mainColor":128},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[23,152,24,25,202,28,29,7073,1067,116,61,30,64,117,7,156,115],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纵148.8厘米，横57.2厘米",[124,45],{"id":7078,"slug":7079,"title":7080,"dynasty":133,"author":134,"museum":167,"description":7081,"tags":7082,"thumbUrl":7083,"material":140,"size":7084,"collection":124,"collections":7085,"showCount":7022,"zanCount":928,"manualWeight":48,"mainColor":49},219504,"tie-ya-tu-huang-gong-wang-219504","铁崖图","此作近景作小坡树石，右置小桥，左布人家；中远景左方峰峦平顶叠加相连，右方则云烟飘渺，仅露出局部山头、崖壁。画中物像钩定轮廓後，多以规整卧笔点叶、点苔，略显平板。",[24,25,202,114,118,30,117,7,37,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45b7cbc7b51e6e5ecc78a2cd2b60d17.jpg","157.5x64.9公分",[124],{"id":7087,"slug":7088,"title":7089,"dynasty":54,"author":4230,"museum":167,"description":7090,"tags":7091,"thumbUrl":7092,"material":114,"size":179,"collection":103,"collections":7093,"showCount":7022,"zanCount":928,"manualWeight":48,"mainColor":49},219339,"fu-song-guan-pu-tu-dai-jin-219339","抚松观瀑图","虬松横斜如探身老者，枝桠间松针攒簇，墨色浓淡相济，尽显苍劲古拙之姿。飞瀑自崖壁垂落，线条如练，与朦胧山雾相融，添几分空濛悠远。松下二人或立或俯，似低语，又或凝听瀑声，神态悠然，将文人雅士闲适心境藏于山水间。左侧亭台半隐松荫，木质结构线条简洁，与自然景致浑然一体。山石皴擦刚健，草木点染灵动，笔墨兼具挺劲与秀逸。整幅画山水相映，人物点睛，传递出远离尘嚣、寄情林泉的淡泊之韵，仿佛能闻松涛与瀑声交织，引人沉醉于这份林泉雅趣中。",[24,25,202,30,118,28,540,204,116,61,117,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff224b7dc4b4561098e04194164c63257.jpg",[103],{"id":7095,"slug":7096,"title":7097,"dynasty":54,"author":7098,"museum":167,"description":7099,"tags":7100,"thumbUrl":7102,"material":122,"size":7103,"collection":124,"collections":7104,"showCount":7022,"zanCount":48,"manualWeight":48,"mainColor":128},218182,"jiao-yuan-shi-er-jing-ce-xue-zhai-shen-shi-chong-218182","郊园十二景册-雪斋","沈士充","明朝时期，沈士充是一位著名的文学家、政治家和官员。他在明朝末年时创作了一本名为《郊园十二景册》的书，其中记录了他在北京城郊外的别墅中所看到的12种风景。这本书成为了明朝时期书写风格优美、内容丰富的作品之一。",[24,25,385,114,30,118,7101,818,116,63,7,117,1044],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff25b1501811aba8c4c17fb7b3d08bf64.jpg","30.1x47.5",[124],{"id":7106,"slug":7107,"title":7108,"dynasty":18,"author":434,"museum":167,"description":7109,"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文,描绘乾隆皇帝渡过黄河后,当日和次日视察黄河、淮河、运河和洪泽湖四大水系汇合处险要工程的场景.本幅开卷的宽阔江面,全以细笔勾勒水波,缜密而不失丰富层次,其中江水因含沙量不同,一清一浑、泾渭分明,足称奇观.堤坝之上,皇帝立于华盖之下,心系社稷黎民；\n沿途群臣下跪翘首,感激皇威浩荡.卷前有词臣于敏中题诗：御碑亭畔汇清黄，仰溯涂山疏瀹方。端拱九重遑自逸，酬咨万姓切如伤。惟斯继述诚应勖，亦曰流连慎戒荒，高堰重蒙皇考建，千秋淮郡倚金汤。御制恭依皇祖览淮黄诗韵。臣于敏中奉敕敬书。",[23,24,25,26,29,28,59,32,7181,243,1290,69,61,66,7,676,1420,760,1364,7182],"堤坝","水利工程","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bc9f5a94b12c79923f595bc701a8c2.jpg","68.8x1096.17cm",[124],{"id":7187,"slug":7188,"title":7189,"dynasty":18,"author":434,"museum":20,"description":7190,"tags":7191,"thumbUrl":7193,"material":78,"size":7194,"collection":331,"collections":7195,"showCount":7134,"zanCount":11,"manualWeight":48,"mainColor":128},216750,"yuan-hou-zhai-guo-tu-yi-ming-216750","猿猴摘果图","此图绘深山野林中，三只猿猴攀援栖止于树枝上。其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。",[23,152,24,25,2895,29,28,153,7192,7,5062,1855],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19385bb53dc3ac8f2ae0ebf08a7d2ed.jpg","纵25厘米，横25.6厘米",[331],{"id":7197,"slug":7198,"title":7199,"dynasty":18,"author":2712,"museum":167,"description":7200,"tags":7201,"thumbUrl":7202,"material":78,"size":7203,"collection":124,"collections":7204,"showCount":7134,"zanCount":928,"manualWeight":48,"mainColor":128},215110,"qi-feng-wan-mu-tu-yan-wen-gui-215110","奇峰万木图","这幅作品中除了峭拔的奇峰外，并未见有燕文贵画风的特点。而由山石的造型、皴法、树法、点苔、设色等，也都比较接近南、北宋之交院画家李唐的「江山小景」卷来看，应当是一幅南宋习自李唐风格的作品。\n登临高山之顶，一幕奇峰汇聚、林木茂盛、云雾蒸腾的景致，正置于观者眼前。大自然的神奇与灵秀，使得这一座座高耸峭拔的奇峰与挺劲丛生的松杉，看来犹如刺天入云的绿色天柱，由近至远，幽缈地在天地之间起落、绵延。",[23,24,152,25,385,114,28,30,7,4556,118,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ce2e5b35c1ba22aa5ee4dea5f39ab1.jpg","24.5 x 26公分",[124],{"id":7206,"slug":7207,"title":7208,"dynasty":18,"author":7209,"museum":459,"description":7210,"tags":7211,"thumbUrl":7212,"material":78,"size":179,"collection":124,"collections":7213,"showCount":7134,"zanCount":928,"manualWeight":48,"mainColor":128},215042,"ri-ben-xin-gui-shan-yuan-qi-hui-juan-niao-yu-seng-zheng-jue-you-215042","日本· 信贵山缘起绘卷","鸟羽僧正觉猷","画面如流水般铺展，墨色与淡彩交织出古雅韵致。图文交织的叙事里，每一折都藏着鲜活的情节——山间云雾轻笼，亭台楼阁隐现于林麓间，人物衣袂流转，或行或坐，神态生动如在眼前。山水晕染细腻温润，山石纹理、草木姿态皆透着自然灵趣；建筑结构精巧，红柱朱门点缀其间，添了几分庄重。绘卷以细腻笔触勾勒信仰与日常的交融，从山林到殿宇，从人物互动到景物铺陈，处处流露平安时代的审美意趣。它似一部流动的史书，让观者窥见千年前的生活与精神世界，韵味悠长，耐人寻味。",[23,3453,25,26,923,59,28,61,30,62,63,64,90,1855,156,7,37,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa988a8055981fce0c5bed6ccb375ce89.jpg",[124],{"id":7215,"slug":7216,"title":1178,"dynasty":223,"author":647,"museum":459,"description":7217,"tags":7218,"thumbUrl":7219,"material":936,"size":7220,"collection":124,"collections":7221,"showCount":7222,"zanCount":48,"manualWeight":48,"mainColor":128},224390,"shan-shui-zhou-wang-yuan-qi-224390","王原祁，明崇禎十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，號麓台、石師道人，江南省蘇州府太倉人(今江蘇太倉)，王時敏孫。康熙九年（1670年）進士，觀政於吏部、任順天鄉試同考官，後任直隸順德府任縣（今河北省邢台市任縣）知縣，地當九河下流，滏漳諸水復久壅塞，腴田變為污渚，圪劉累泊等處，即古大陸澤為患，尤甚甲子乙丑秋雨連旬，水勢陡發，堤岸盡壊，田萊俱成巨浸。\n原祁請照淮揚例，永免水荒田賦三千餘金，民困以蘇其餘如，築堤以防水憲，建橋以通水道，斃盜賊以安民命，明僎介以昭典禮，發倉儲以救羸，着跡難以枚舉。丙寅，奉命行取擢諫垣，改翰林，累官少司農，卒於位，賜祭葬如例，康熙五十九年入祀名宦。\n以畫供奉內廷，康熙四十四年奉旨與孫嶽頒、宋駿業等編《佩文齋書畫譜》，五十六年主持繪《萬壽盛典圖》為康熙帝祝壽。擅畫山水，繼承家法，學元四家，以黃公望為宗，喜用幹筆焦墨，層層皴擦，用筆沉着，自稱筆端有金剛杵。與王時敏、王鑑、王翬並稱“四王”，形成婁東畫派，左右清代三百年畫壇，成為正統派中堅人物。享年七十四。\n其所著畫論有《雨窗漫筆》與《麓台題畫稿》。擅長做詩，有《罨畫樓集》3卷。\n晚清婁東畫派代表人物秦祖永論王原祁畫風：『中年秀潤，晚年蒼渾」；論其畫曰：『沈雄驗右，元氣淋漓，筆端金剛杵之語不虛也」",[23,24,114,202,30,118,117,7,206,244,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917ded737cee2cb67416324c0fd6c159.jpg","纵91厘米，横46厘米",[124],78,{"id":7224,"slug":7225,"title":7226,"dynasty":223,"author":1998,"museum":20,"description":7227,"tags":7228,"thumbUrl":7229,"material":40,"size":7230,"collection":124,"collections":7231,"showCount":7222,"zanCount":48,"manualWeight":48,"mainColor":49},223285,"shan-shui-si-tiao-ping-yang-zhou-si-jing-wan-song-die-cui-yuan-yao-223285","山水四条屏-扬州四景-万松叠翠","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,28,59,29,30,540,62,116,66,117,37,1290,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[124,45],{"id":7233,"slug":7234,"title":7235,"dynasty":54,"author":110,"museum":111,"description":7236,"tags":7237,"thumbUrl":7239,"material":415,"size":7240,"collection":124,"collections":7241,"showCount":7222,"zanCount":48,"manualWeight":48,"mainColor":128},222092,"liang-jiang-ming-sheng-tu-ce-shen-zhou-222092","两江名胜图册","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,152,24,25,385,475,28,114,118,59,29,228,62,7,61,7238],"诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae55cb9acf046e83c10499f6b45c6d.jpg","42.2×23.8厘米",[124],{"id":7243,"slug":7244,"title":7245,"dynasty":18,"author":2052,"museum":1443,"description":7246,"tags":7247,"thumbUrl":7248,"material":40,"size":7249,"collection":42,"collections":7250,"showCount":7222,"zanCount":48,"manualWeight":48,"mainColor":128},221488,"ming-huang-dou-ji-tu-li-song-221488","明皇斗鸡图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,25,152,29,28,61,90,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89089138511bc1aca4f7a0f4bc671a45.jpg","纵25.6厘米，横26.4厘米",[42,44,45],{"id":7252,"slug":7253,"title":7254,"dynasty":54,"author":7255,"museum":1443,"description":7256,"tags":7257,"thumbUrl":7258,"material":78,"size":7259,"collection":124,"collections":7260,"showCount":7222,"zanCount":48,"manualWeight":48,"mainColor":49},219935,"bei-ming-tu-zhou-chen-219935","北溟图","周臣","此图描绘了古代北海的波澜壮阔。《庄子》开篇《逍遥游》载：“北冥有鱼，其名为鲲，鲲之大，不知几千里也”。渤海古代称北海，亦即北冥，北冥亦作北溟。",[23,24,26,30,29,118,62,7,37,2113,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177597f502a07f40362a79fb62f4475a.jpg","135.9x28.3厘米",[124],{"id":7262,"slug":7263,"title":7264,"dynasty":54,"author":801,"museum":56,"description":7265,"tags":7266,"thumbUrl":7267,"material":78,"size":179,"collection":124,"collections":7268,"showCount":7222,"zanCount":666,"manualWeight":48,"mainColor":49},219717,"you-diao-tu-tang-yin-219717","游钓图","烟岚轻笼远峰，墨色晕开江天暮色，空濛间漾着清寂悠然。中流扁舟一叶，渔者卧于舟头，随波浮沉，将江海寄怀揉入闲淡烟波。近岸危崖之上，虬松盘曲斜伸，丹枫点染出秋意暖色，幽轩依崖而筑，侍童静立阶侧，似在等候凭栏观江的主人。\n\n画作以斧劈皴勾勒山石棱角，刚劲中晕以淡墨烟霭，刚柔相济。题诗与画面相映，将仕路失意后的林泉之乐铺陈开来，把文人放旷自适的隐逸之思藏在笔底烟霞，萧散简远，尽显诗意与画意交融的吴门雅韵。",[24,202,28,118,30,115,7,244,61,64,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ac5f73b824988b7d0c801d54a6c2e4.jpg",[124],{"id":7270,"slug":7271,"title":7272,"dynasty":223,"author":7273,"museum":382,"description":7274,"tags":7275,"thumbUrl":7276,"material":78,"size":7277,"collection":331,"collections":7278,"showCount":7222,"zanCount":11,"manualWeight":48,"mainColor":49},219035,"yan-shang-ying-tu-zhang-yu-sen-219035","岩上鹰图","张雨森","苍岩之巅，雄鹰敛翅伫立。羽翮黑白相间，斑纹细密如织，蓬松处似含风露，利爪紧扣石隙，筋骨隐现沉凝力道。山石以枯笔皴擦，纹理嶙峋若斧劈，与鹰羽的细腻勾勒相映成趣。旁侧虬枝横斜，红叶点缀其间，添几分秋意清寂。背景绢色沉郁，更衬出鹰的孤高与山石的冷峻。画面于写实中融写意之韵，雄鹰沉静姿态下藏蓄势待发的张力，笔墨间尽展自然生机与生命的苍劲力量，观之令人感佩造物之奇与绘者匠心。",[23,152,24,25,202,29,28,7060,244,7,591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adea9a4d59fe57c41686f184054adc1.jpg","纵163.5横88.1厘米",[331],{"id":7280,"slug":7281,"title":7282,"dynasty":18,"author":7283,"museum":423,"description":7284,"tags":7285,"thumbUrl":7287,"material":78,"size":7288,"collection":124,"collections":7289,"showCount":7222,"zanCount":11,"manualWeight":48,"mainColor":49},218233,"shen-shan-fang-yin-tu-yu-jian-218233","深山访隐图","玉涧","枯松斜倚崖边，松针以墨线疏疏勾出，苍劲中带着荒寒之韵。山石轮廓用简练笔触皴擦，肌理分明，层层向远延伸，山岚似轻烟漫过谷间，模糊了远近界限。林麓深处，几椽屋舍隐现，被松影与雾气轻掩，恰是访隐者追寻的幽居。画面色调古雅，绢本沉郁质感衬得水墨清寂。墨笔题识错落右上角，文气与画意相融，似诉说访隐心境。整幅画以简淡之笔勾勒深山静谧幽深，每一线条、每块墨色都透着对隐逸之境的向往，让人仿佛听见山风穿松的轻响，触摸到林间清寒气息。",[24,114,475,118,228,30,540,117,500,7,1289,501,1044,37,7286],"深山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46171ff02094154282d5be54ddfea031.jpg","93x40cm",[124],{"id":7291,"slug":7292,"title":7293,"dynasty":54,"author":7294,"museum":167,"description":7295,"tags":7296,"thumbUrl":7297,"material":122,"size":7298,"collection":45,"collections":7299,"showCount":7222,"zanCount":11,"manualWeight":48,"mainColor":128},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘","孙克弘（1532—1611） 明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。",[23,24,25,26,28,29,118,153,120,30,61,62,63,64,289,7,116,70,1621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd58699418b7719eb47ed1909ad872c.jpg","279x1333.9",[45],{"id":7301,"slug":7302,"title":7303,"dynasty":54,"author":2835,"museum":167,"description":7304,"tags":7305,"thumbUrl":7306,"material":303,"size":7307,"collection":124,"collections":7308,"showCount":7222,"zanCount":48,"manualWeight":48,"mainColor":128},215044,"shan-shui-ji-jing-wang-fu-215044","山水集景","王绂（1567-1630）是明朝时期的文学家，他的山水集景是一部著名的诗集。该诗集收录了王绂写的许多关于山水风景的诗歌，这些诗歌描写了自然风光、山川景色、湖泊和其他自然景观。王绂的诗歌以其精美的描写、优美的语言和深刻的思想而闻名，被认为是中国古典诗歌中的杰出作品。",[23,24,114,30,118,1067,116,117,7,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd65f978a54b6280267aea6cc2cd8f.jpg","68.8x37cm",[124],{"id":7310,"slug":7311,"title":7312,"dynasty":223,"author":381,"museum":382,"description":383,"tags":7313,"thumbUrl":7314,"material":122,"size":389,"collection":179,"collections":7315,"showCount":7222,"zanCount":48,"manualWeight":48,"mainColor":128},214885,"shan-shui-tu-ce-7-shi-tao-214885","山水图册-7",[23,152,24,25,385,114,28,30,289,7,500,37,118,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecda7769b032a5905973de3864dbb28.jpg",[],{"id":7317,"slug":7318,"title":1178,"dynasty":223,"author":3550,"museum":459,"description":7319,"tags":7320,"thumbUrl":7321,"material":179,"size":179,"collection":124,"collections":7322,"showCount":7323,"zanCount":48,"manualWeight":48,"mainColor":128},239477,"shan-shui-zhou-kun-can-239477","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[24,114,118,202,30,63,64,7,117,37,61,1705,5815,1044,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59008fa5f9a110c1ebed1091d2f5520e.jpg",[124,103],77,{"id":7325,"slug":7326,"title":7327,"dynasty":223,"author":2792,"museum":20,"description":7328,"tags":7329,"thumbUrl":7332,"material":40,"size":7333,"collection":44,"collections":7334,"showCount":7323,"zanCount":928,"manualWeight":48,"mainColor":128},238124,"kang-xi-nan-xun-tu-juan-wang-hui-238124","康熙南巡图卷","康熙皇帝是清朝入关以后的第二代皇帝，在位期间，为了解民情，视察河防，尤其是为平息江南地区民众的反清情绪，从康熙二十三年（1684年）到康熙四十六年（1707年）间，曾经有过6次南巡的盛举。每次南巡，皇帝一行从京师出发，时而车骑，时而舟船，一直抵达浙江的绍兴。出巡活动浩浩荡荡，兴师动众，地方官员迎来送往，花费惊人。《红楼梦》作者曹雪芹的祖父曹寅当时任江宁织造，曾数次接驾。曹雪芹在小说中借凤姐之口说：“说起当年太祖皇帝仿舜巡的故事，比一部书还热闹……只预备接驾一次，把银子花的像淌海水似的！”可见其豪华排场。\n在康熙二十八年（1689年）第二次南巡结束后，根据皇帝的命令，由曹寅之弟曹筌任“《南巡图》监画”，征召画家开始绘制《康熙南巡图》。该图共十二巨卷，详细描绘了整个南巡过程。十二卷图现已不复完整，尚存九卷，第一、第九、第十、第十一、第十二卷藏于北京故宫博物院；第二、第四卷现藏法国巴黎的吉美博物馆；第三、第七卷现藏美国纽约的大都会艺术博物馆。\n《康熙南巡图》十二卷是由著名画家王翚领衔主绘的，参与绘制的画家还有冷枚、王云、杨晋等，全图历时六年方告完成。",[28,29,59,61,62,399,90,1421,1420,7,93,1459,70,6784,1145,2918,7330,2571,7331],"步兵","门楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4edf3f1428ff622207f310b8322c2e7d.jpg","纵67.8厘米，横1400至2600厘米",[44,45],{"id":7336,"slug":7337,"title":6800,"dynasty":223,"author":2792,"museum":459,"description":6801,"tags":7338,"thumbUrl":7339,"material":179,"size":179,"collection":179,"collections":7340,"showCount":7323,"zanCount":48,"manualWeight":48,"mainColor":128},237591,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237591",[152,24,25,385,114,118,30,62,63,64,115,116,7,204,117,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724471d5eaa3cabd10d34c299b6fd545.jpg",[],{"id":7342,"slug":7343,"title":7344,"dynasty":18,"author":1816,"museum":658,"description":7345,"tags":7346,"thumbUrl":7347,"material":7348,"size":7349,"collection":42,"collections":7350,"showCount":7323,"zanCount":928,"manualWeight":48,"mainColor":128},221623,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","《诗经·唐风》中的“唐”是指周成王的弟弟叔虞的封国所在地，大约在今天的山西太原以南沿汾水流域一带的地方，“唐风”就是这个区域的诗歌。宋高宗赵构非常喜欢马和之的画风，每写《诗经》就命其补图。此卷文图相辅，先文后图，文为《诗经·唐风》中的十二篇诗，每首诗文后附图，用柳叶描、线条飘逸、着色轻淡、古雅脱俗，体现出诗中的意境。",[23,24,25,26,437,114,28,61,30,7,116,63,64,156,289,426,153,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[42,44,45],{"id":7352,"slug":7353,"title":7354,"dynasty":18,"author":2712,"museum":3521,"description":7355,"tags":7356,"thumbUrl":7358,"material":140,"size":7359,"collection":42,"collections":7360,"showCount":7323,"zanCount":48,"manualWeight":48,"mainColor":49},221418,"dong-xue-shan-shui-tu-juan-yan-wen-gui-221418","冬雪山水图卷","景口郭卑天锡父题。长卷绘山连绵起伏，山顶云雾缭绕，山下河水平静，村落树木白雪覆盖，画面静谧空旷。",[23,152,24,25,26,28,118,30,7357,2795,32,7,117],"冬雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769365f4d6505b4b415e55c2a2bad217.jpg","34.7x354.5厘米",[42,124,103],{"id":7362,"slug":7363,"title":7364,"dynasty":620,"author":7365,"museum":20,"description":7366,"tags":7367,"thumbUrl":7368,"material":140,"size":7369,"collection":44,"collections":7370,"showCount":7323,"zanCount":48,"manualWeight":48,"mainColor":49},221152,"lang-yuan-nv-xian-tu-juan-ruan-gao-221152","阆苑女仙图卷","阮郜","“阆苑”是传说中仙人的住处，有时也指宫苑。此图描绘的当是仙山阆苑，为仙女生活游玩之地。图中描绘苍松翠竹间，一群女仙休闲的情景，其中三个地位显赫，在小仙女的陪侍下坐在一起，或执卷欲书，或展卷凝视，或拨弄三弦。四周有乘鸾女仙、乘龙女仙、驾云女仙，还有在海面上凌波漫步，缓缓而来的女仙，与地上群仙互为呼应。\n画中女仙体态纤弱，衣纹勾描细密圆软，一反唐周昉时代侍女之丰肥与衣纹线条之方硬。树枝多画成蟹爪状，画法略似李成。坡石以墨线勾，染青绿色。水纹繁复，刻划极为生动，有唐人遗风。清人高士奇在跋中云：“五代阮郜畫，世不多見。《閬苑仙女圖》曾入宣和御府，筆墨深厚，非陳居中、蘇漢臣輩所可比擬。”",[23,152,24,25,26,29,28,61,170,30,7,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde423de1a5e6f1d004a4e19fd7e97f3e.jpg","纵42.7厘米，横177.2厘米。",[44,45],{"id":7372,"slug":7373,"title":7374,"dynasty":54,"author":955,"museum":20,"description":7375,"tags":7376,"thumbUrl":7377,"material":936,"size":7378,"collection":124,"collections":7379,"showCount":7323,"zanCount":928,"manualWeight":48,"mainColor":128},220906,"she-shan-you-jing-tu-zhou-dong-qi-chang-220906","佘山游境图轴","《董其昌佘山游境图轴》是明代画家董其昌所创作的一幅纸本纸本墨笔画。",[23,152,24,25,202,114,118,30,117,7,761],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68466d3a79e9cb3ca5526c09f52f5482.jpg","纵98.4厘米，横41厘米",[124,103],{"id":7381,"slug":7382,"title":5886,"dynasty":223,"author":647,"museum":111,"description":7383,"tags":7384,"thumbUrl":7386,"material":78,"size":7387,"collection":124,"collections":7388,"showCount":7323,"zanCount":928,"manualWeight":48,"mainColor":49},218264,"du-fu-shi-yi-tu-wang-yuan-qi-218264","层峦叠嶂间，干笔皴擦的远山如黛，云雾缭绕中透出苍劲之姿。山腰亭台隐于松竹深处，林木葱茏间藏文人栖居的意趣。近景山石以浓墨勾勒，皴染结合尽显厚重质感；虬松枝干盘曲，松针如簇，笔力遒劲。整幅画笔墨苍润，构图深远，将山水之清幽与诗意之境相融，尽显沉雄古逸的娄东派山水韵味，仿佛可闻林泉间的文人雅韵，观之如入静谧悠远的诗意山水世界。",[23,24,25,28,118,30,116,117,37,7,69,7385],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e15a2b69c75609ee0d8554e5cc662c.jpg","321x92cm",[124],{"id":7390,"slug":7391,"title":7392,"dynasty":54,"author":955,"museum":167,"description":7393,"tags":7394,"thumbUrl":7395,"material":303,"size":179,"collection":124,"collections":7396,"showCount":7323,"zanCount":48,"manualWeight":48,"mainColor":128},214614,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-fang-gao-ke-gong-shan-shui-dong-qi-chang-214614","仿宋元人缩本画及跋册-仿高克恭山水","董其昌是中国明清时期的画家、书法家，出生于浙江省杭州市。他的作品有许多著名的山水画，其中包括《虞山图》。此外，董其昌还有许多仿宋元人缩本画和跋册，其中包括《仿高克恭山水》。\n\n《仿高克恭山水》是董其昌的一幅仿宋元人缩本画，其中描绘了秀美的山水风光。在这幅画中，董其昌运用了仿宋元人风格的画法，使得画面充满了古朴的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n《仿高克恭山水》是董其昌的杰作之一，它被广泛收藏和展览，并被认为是中国仿宋元人风格山水画的代表作之一。董其昌的作品对中国书画史上的发展起到了重要的作用，并且被认为是中国书画史上的经典之作。",[24,25,385,114,28,30,31,7,37,117,206,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1523aa0b726e258ba37810ef1a4d3eeb.jpg",[124],{"id":7398,"slug":7399,"title":1690,"dynasty":54,"author":110,"museum":20,"description":1691,"tags":7400,"thumbUrl":7401,"material":360,"size":1694,"collection":179,"collections":7402,"showCount":7403,"zanCount":48,"manualWeight":48,"mainColor":128},234097,"wu-zhong-shan-shui-ce-shen-zhou-234097",[24,25,385,114,118,120,153,30,62,63,64,115,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97c78df6684545aea53e3f99cba50f8.jpg",[],76,{"id":7405,"slug":7406,"title":7407,"dynasty":54,"author":110,"museum":459,"description":7408,"tags":7409,"thumbUrl":7410,"material":179,"size":179,"collection":179,"collections":7411,"showCount":7403,"zanCount":48,"manualWeight":48,"mainColor":128},228837,"zi-sang-yin-ru-tu-juan-shen-zhou-228837","紫桑隐如图卷","此作用笔温厚苍润，取景江南水村一隅。近岸篱舍环于木栅，垂柳初舒柔条，丹枫点染暖艳，柴门边家犬迎客，三两屋舍透出融融闲趣。湖面轻舟漾波，渔者撑篙送访客登岸，一动一静，鲜活勾勒乡居日常。\n山石以淡赭晕染，墨色层次雅致，屋舍人物简括生动，将林泉高致的隐逸之趣，揉入江南水乡的温润景致里，淡远冲和，尽显归园田居的恬然意韵。",[23,24,25,26,28,118,30,7,115,61,358,64,117,639,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dd651f9864f373fed8f9382256e76e.jpg",[],{"id":7413,"slug":7414,"title":7415,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":7416,"thumbUrl":7421,"material":808,"size":809,"collection":3244,"collections":7422,"showCount":7403,"zanCount":928,"manualWeight":48,"mainColor":49},225714,"bank-of-the-seine-may-july-fan-gao-225714","Bank of the Seine (May - July )",[3239,3240,7417,7418,7419,32,1446,7,35,61,7420,5404,411],"笔触短促","色彩明快","光影表现","水面倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaa5aea6f7e90ef3d990ca0daf88f722.jpg",[3244],{"id":7424,"slug":7425,"title":7426,"dynasty":223,"author":1533,"museum":167,"description":7427,"tags":7428,"thumbUrl":7429,"material":140,"size":7430,"collection":179,"collections":7431,"showCount":7403,"zanCount":48,"manualWeight":48,"mainColor":128},224479,"fang-zhao-meng-fu-shan-shui-zhou-wang-jian-224479","仿赵孟頫山水轴","王鉴最早从董源入手，1636年，39岁的王鉴结识了董其昌，由此开始深受董其昌影响，后承绪南宗正脉，并涉足擅长青绿山水的三赵 ( 赵令穰、赵伯驹、赵孟頫），绘画兼具其平生倾慕的赵孟頫、王蒙、董其昌三家之长。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在表明自己的审美理想和创作思想，然后施之于画幅上，令其画独存灵逸之趣。",[23,24,25,202,958,27,28,118,30,117,7,63,64,676,61,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228e8ef62ddaeaa716374da839e86119.jpg","110×60cm",[],{"id":7433,"slug":7434,"title":7435,"dynasty":54,"author":55,"museum":20,"description":733,"tags":7436,"thumbUrl":7437,"material":40,"size":738,"collection":179,"collections":7438,"showCount":7403,"zanCount":48,"manualWeight":48,"mainColor":128},222187,"ren-wu-gu-shi-tu-chui-xiao-yin-feng-chou-ying-222187","人物故事图-吹箫引凤",[23,24,29,28,59,61,170,62,30,156,1124,881,7,3630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f759dfb5ab9012ad81e69f828566888.jpg",[],{"id":7440,"slug":7441,"title":7442,"dynasty":54,"author":3582,"museum":20,"description":7443,"tags":7444,"thumbUrl":7445,"material":7446,"size":7447,"collection":124,"collections":7448,"showCount":7403,"zanCount":48,"manualWeight":48,"mainColor":49},221886,"za-hua-tu-ce-fang-li-tang-bi-yi-chen-hong-shou-221886","杂画图册-仿李唐笔意","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,152,24,25,385,28,118,60,30,117,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9093bddfe13cc837d377af14452eaabd.jpg","绢本、设色","纵30.2＊横25.1CM",[124,44,45],{"id":7450,"slug":7451,"title":7452,"dynasty":133,"author":5718,"museum":20,"description":7453,"tags":7454,"thumbUrl":7455,"material":1218,"size":7456,"collection":124,"collections":7457,"showCount":7403,"zanCount":928,"manualWeight":48,"mainColor":49},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[23,152,24,25,26,28,29,119,153,30,7,35,34,117,540,500,2808,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[124,45],{"id":7459,"slug":7460,"title":7461,"dynasty":1743,"author":7462,"museum":3209,"description":7463,"tags":7464,"thumbUrl":7465,"material":230,"size":179,"collection":179,"collections":7466,"showCount":7403,"zanCount":48,"manualWeight":48,"mainColor":128},220476,"wan-shan-hong-bian-li-ke-ran-220476","万山红遍","李可染","以大面积朱砂晕染层林，丹红似燃，浓烈却不失厚重意蕴，将秋山烂漫尽数铺展。焦墨勾勒山石轮廓，苍劲雄浑的墨色与艳烈丹红碰撞，生出极强视觉张力。垂落的飞瀑如素练破山而下，为沉郁秋景注入灵动生机。山坳间错落的白墙黛瓦民居，晕开一抹烟火暖意，让宏阔秋景多了几分温婉烟火气。笔力苍拙厚重，色彩对比强烈却和谐相融，将秋日山林的绚烂大气与静谧雅致合而为一，尽显秋山盛景的磅礴诗意。",[23,24,28,118,228,30,204,206,35,968,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cecc510a934210856686c503976ce7a.jpg",[],{"id":7468,"slug":7469,"title":7470,"dynasty":133,"author":434,"museum":7471,"description":7472,"tags":7473,"thumbUrl":7475,"material":78,"size":7476,"collection":124,"collections":7477,"showCount":7403,"zanCount":467,"manualWeight":48,"mainColor":49},218225,"qing-shan-hua-ge-tu-yi-ming-218225","青山画阁图","朵云轩","此图绘重峦之中的楼阁，游人漫步其中，凭栏远眺，两 只小舟荡于溪水之上。山石的画法受郭熙影响，界画楼阁手法工谨，当属职业画家所创作的山水楼阁画。",[24,25,475,28,27,118,7474,62,63,64,7,117,880],"青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F460d65a40c463c3ffa5784432d4acd69.jpg","170x103cm",[124],{"id":7479,"slug":7480,"title":7481,"dynasty":54,"author":434,"museum":2805,"description":7482,"tags":7483,"thumbUrl":7484,"material":78,"size":7485,"collection":124,"collections":7486,"showCount":7403,"zanCount":48,"manualWeight":48,"mainColor":49},217911,"shan-zhuang-guan-he-tu-yi-ming-217911","山庄观鹤图","山庄观鹤图是明朝时期的一幅名画，作者是佚名画家。这幅画描绘了一座山庄，山庄周围群山环抱，绿树成荫，空气清新。在山庄的前院，有一只鹤正在观赏花草，显得十分和善。这幅画浓烈的山水意境，深刻地表现出了古人对自然界的敬畏和虔诚，同时也展现了明朝画家独特的画风和技巧。",[24,202,28,30,118,61,116,63,64,62,7,117,1620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fad8a02e60f7dc3edd0d39a2250f75.jpg","195.5x99cm",[124],{"id":7488,"slug":7489,"title":7490,"dynasty":18,"author":198,"museum":459,"description":7491,"tags":7492,"thumbUrl":7493,"material":808,"size":809,"collection":179,"collections":7494,"showCount":7495,"zanCount":48,"manualWeight":48,"mainColor":985},287539,"xue-shan-lou-ge-tu-fan-kuan-287539","雪山楼阁图","此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。",[24,30,114,118,62,1080,64,117,7,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7164b3c1f63766c284a26f90276d03.jpg",[],75,{"id":7497,"slug":7498,"title":7499,"dynasty":54,"author":3582,"museum":459,"description":7500,"tags":7501,"thumbUrl":7502,"material":360,"size":179,"collection":44,"collections":7503,"showCount":7495,"zanCount":48,"manualWeight":48,"mainColor":49},237222,"chen-hong-shou-jin-jue-tu-juan-chen-hong-shou-237222","陈洪绶晋爵图卷","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今 明代著名书画家、诗人。\n年少师事 明亡入 一生以画见长，尤工 所画人物躯干伟岸，衣纹 花鸟等描绘精细，设色清丽，富有装饰味。亦能画 还长于为文学作品创作 其画手法简练，色彩沉着含蓄，其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[24,25,26,29,28,61,170,806,117,7,64,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddd38d94f0d83cb4ba3169e2191ffee.jpg",[44],{"id":7505,"slug":7506,"title":7507,"dynasty":18,"author":4856,"museum":459,"description":7508,"tags":7509,"thumbUrl":7510,"material":179,"size":179,"collection":179,"collections":7511,"showCount":7495,"zanCount":928,"manualWeight":48,"mainColor":49},232781,"qing-lv-shan-shui-tu-juan-zhao-bo-su-232781","青绿山水图卷","赵伯骕(1124--1182年)，字希远，宋宗室，赵伯驹弟，官至和州防御史，曾以副使身份出使过金国。他擅长青绿山水，出自唐代李思训的传派并自成一体。",[23,152,24,25,26,27,28,29,30,341,342,7,62,116,63,115,3817,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa254d25dcb7192aa77a3c1e2f7ab64.jpg",[],{"id":7513,"slug":7514,"title":2722,"dynasty":223,"author":434,"museum":459,"description":7515,"tags":7516,"thumbUrl":7517,"material":808,"size":809,"collection":179,"collections":7518,"showCount":7495,"zanCount":48,"manualWeight":48,"mainColor":128},230348,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-230348","水岸楼台层叠错落，奇石流泉蜿蜒在庭院间。近舍里宾朋凭栏谈笑，空场间人群簇立，围观高架旁的杂艺演出。远景烟波轻笼水乡，屋舍连片沿水岸铺展，拱桥上行人摩肩接踵，新梅缀枝，漫染融融春意。\n\n整作工笔细腻温婉，以淡彩晕染出雅致底色，将苑囿闲情与江南市井的喧闹烟火相融，疏密有致的构图里，铺陈出春日佳节松弛鲜活的盛景，尽揽雅致祥和的岁时意趣。",[24,28,29,59,61,62,116,63,64,7,4124,70,760],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2627069d8464d638cd4130d2f3b07cf.jpg",[],{"id":7520,"slug":7521,"title":7522,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":7525,"thumbUrl":7533,"material":808,"size":809,"collection":3244,"collections":7534,"showCount":7495,"zanCount":928,"manualWeight":48,"mainColor":49},225897,"apple-trees-in-bloom-1873-mo-nai-225897","Apple Trees in Bloom, 1873","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[7526,3239,7527,7528,7529,4473,411,3374,7530,7531,7,6454,7532],"印象派","光影","色彩","苹果树","阳光","阴影","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7dc2ba4e0472dde8bd5d3e98edc5a16.jpg",[3244],{"id":7536,"slug":7537,"title":7538,"dynasty":54,"author":955,"museum":167,"description":7539,"tags":7540,"thumbUrl":7541,"material":3867,"size":7542,"collection":124,"collections":7543,"showCount":7495,"zanCount":48,"manualWeight":48,"mainColor":128},220944,"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[23,24,25,202,114,118,119,120,30,1473,64,540,7,289,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[124,103],{"id":7545,"slug":7546,"title":7547,"dynasty":54,"author":955,"museum":167,"description":7548,"tags":7549,"thumbUrl":7550,"material":360,"size":7551,"collection":124,"collections":7552,"showCount":7495,"zanCount":48,"manualWeight":48,"mainColor":128},220939,"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是模拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,25,202,114,118,119,153,30,4556,4114,7,35,117,32,37,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[124,103],{"id":7554,"slug":7555,"title":7556,"dynasty":54,"author":955,"museum":167,"description":2617,"tags":7557,"thumbUrl":7558,"material":2620,"size":179,"collection":124,"collections":7559,"showCount":7495,"zanCount":48,"manualWeight":48,"mainColor":49},220935,"fang-fan-kuan-xi-shan-xing-lv-tu-dong-qi-chang-220935","仿范宽谿山行旅图",[24,25,30,60,118,114,28,117,243,7,426,244,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6af289c5e3cc8977a1679c323cf75a.jpg",[124,103],{"id":7561,"slug":7562,"title":7563,"dynasty":223,"author":6725,"museum":7564,"description":7565,"tags":7566,"thumbUrl":7568,"material":3867,"size":179,"collection":179,"collections":7569,"showCount":7495,"zanCount":48,"manualWeight":48,"mainColor":128},220464,"tao-hua-yuan-ren-yi-220464","桃花源","亚瑟·M·赛克勒美术馆","淡墨勾皴层叠岩壁，浅晕青绿晕开山岚清润。老樵负斧驻足，抬首凝望漫山繁花。苍劲虬枝缀满素色花团，如堆雪覆枝，将山野晕染出朦胧柔婉。幽寂山石隐在花影石隙，似藏着无人惊扰的洞天。\n人物衣褶简括灵动，抬首的怔忡神态宛然在目，将误入世外山境的沉醉凝于笔端。淡墨写意晕出空寂悠远的山野氛围，清简笔墨铺展出世外天地的悠然意趣，把隐逸避世的幽韵尽数融在这尺幅之中。",[23,24,202,28,4014,61,30,4124,117,7,64,7567],"拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2b3db8d3cbb318979a7513a7d5b907.jpg",[],{"id":7571,"slug":7572,"title":7573,"dynasty":54,"author":7574,"museum":20,"description":7575,"tags":7576,"thumbUrl":7577,"material":78,"size":7578,"collection":124,"collections":7579,"showCount":7495,"zanCount":928,"manualWeight":48,"mainColor":49},220077,"yan-dang-shan-tu-ye-cheng-220077","雁荡山图","叶澄","此图描绘的是位于浙江省境内号称东南第一山的北雁荡山。画卷徐徐展开，一处处风景逐渐展现，按作者以小字标出的各处风景的名称，计有石门潭、章毅楼、石佛岩、石樑洞、灵风洞、罗汉洞、净明寺、蓼花峰、响岩等。作者对景写生，笔底风景各具奇姿，虽仅是雁荡山的一部分，却已展现出它的奇秀特色和壮阔气势。\n图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[23,24,25,26,114,28,30,118,341,244,7,37,64,1044,4556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6534892800d8681db97877a358ee5574.jpg","纵35厘米，横290.3厘米",[124,45],{"id":7581,"slug":7582,"title":2945,"dynasty":3235,"author":7583,"museum":551,"description":7584,"tags":7585,"thumbUrl":7586,"material":78,"size":7587,"collection":124,"collections":7588,"showCount":7495,"zanCount":48,"manualWeight":48,"mainColor":49},219240,"xue-jing-shan-shui-tu-chao-xian-yi-ming-219240","朝鲜·佚名","寒峰如簇，积雪裹岩，皴笔勾勒出山峦苍劲骨相，淡墨晕染雪层蓬松柔意。谷底溪流缓淌，孤舟横卧，几椽屋舍隐于松雪间，似有暖意从窗棂溢出。素褐底色上，雪色留白相映，静谧中透着清寂，萧瑟里藏着生机。笔墨简练却意趣丰盈，将冬日山水的空濛悠远凝于尺幅，仿佛能听见落雪簌簌、流水潺潺，尽显东方水墨的含蓄之美与自然哲思。",[23,24,202,114,118,30,747,341,342,7,35,115,328,206,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895d5a2e9d62434a58f25d76c0290f0a.jpg","92.4x52.7厘米",[124],{"id":7590,"slug":7591,"title":7592,"dynasty":133,"author":7593,"museum":167,"description":7594,"tags":7595,"thumbUrl":7596,"material":122,"size":7597,"collection":124,"collections":7598,"showCount":7495,"zanCount":631,"manualWeight":48,"mainColor":128},219010,"cai-ling-tu-zhao-yong-219010","采菱图","赵雍","树木的笔触是受李成和郭熙的笔触启发。船只沿着溪流漂浮，叶子上满是水葫芦，没有留下任何空隙。然而，在上图中，天空是半圆的，给人一种河流和天空的开放感。这幅画完成于1342年（至正二年十月），时年54岁。",[23,24,114,28,118,119,153,30,540,117,35,7,1290,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41588ce7a9410018582e96d9a4f91e8e.jpg","107.6x35.1",[124],{"id":7600,"slug":7601,"title":7602,"dynasty":990,"author":7603,"museum":20,"description":7604,"tags":7605,"thumbUrl":7607,"material":555,"size":179,"collection":331,"collections":7608,"showCount":7495,"zanCount":48,"manualWeight":48,"mainColor":128},218914,"feng-ren-tu-han-huang-218914","丰稔图","韩滉","作品内容极为丰富——牛羊、乡野村田、田家农事、风俗集社、村童农夫——或是农家风土事物或是农家风俗人物或是农家日常生产生活的场景。从画史著录来看，韩滉人物画除为王公贵族歌功颂德之作外多以村田乡野为背景描绘田家人物及其生产生活的场面；其以牛羊为题材的畜兽绘画也是以田园风光为背景。",[23,24,26,28,29,119,120,153,91,61,7606,7,411],"牧童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ea09afee4d67677294254777585a84d.jpg",[331,1822],{"id":7610,"slug":7611,"title":7612,"dynasty":18,"author":298,"museum":459,"description":7613,"tags":7614,"thumbUrl":7615,"material":555,"size":7616,"collection":42,"collections":7617,"showCount":7495,"zanCount":48,"manualWeight":48,"mainColor":49},218095,"bai-miao-shou-lie-tu-juan-li-gong-lin-218095","白描狩猎图卷","白描狩猎图卷是一幅巨大的屏风画，共有四卷，每卷长约10米，宽约1.5米。它描绘了一场盛大的狩猎活动，其中参加狩猎的人物有皇帝、皇后、王子和贵族，以及许多官员和太监。画面中还有各种各样的动物，包括骏马、鹿、鸟和兔子。\n\n李公麟的白描狩猎图卷以其精细的绘画技巧和丰富的内容而闻名。他使用了白色和黑色的墨水，在白色的底纸上绘制出细腻的线条。他还使用了许多细节，比如服装上的绣花和皇家徽章，以及动物身上的斑点和杂毛。\n\n白描狩猎图卷被认为是宋朝绘画史上的杰作，也是李公麟最著名的作品之一。它不仅是一幅精美的艺术品，还是对当时宋朝社会、文化和政治的重要记录。",[23,152,24,25,26,437,61,30,90,4537,1855,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca98a46e48106d01d0de91429a75d903.jpg","36.8×819",[42],{"id":7619,"slug":7620,"title":7621,"dynasty":223,"author":325,"museum":167,"description":7622,"tags":7623,"thumbUrl":7624,"material":78,"size":7625,"collection":44,"collections":7626,"showCount":7495,"zanCount":928,"manualWeight":48,"mainColor":128},216939,"yuan-ben-qin-can-tu-yuan-juan-yi-tan-lang-shi-ning-216939","院本亲蚕图（元卷 诣坛）","手卷中钜细靡遗地绘出迤逦的随员行列、声势壮盛的仪仗、采桑的命妇、盛装端坐观礼的皇后，画风精细工整，设色明丽。皇后的形象虽小，但一丝不茍，宛如肖像画般具有个人特性，与郎世宁所绘〈高宗帝后像〉中的皇后像十分接近，当为有所凭据而作，而且很可能是出自郎世宁之手。本院同时也收藏有孝贤皇后亲手为乾隆绣作的荷包，表示连位尊权贵的皇后都不能免於女红的训练。",[23,24,25,26,29,28,59,61,62,7,63,70,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa035dbde6b9f77803cb1de96015f22ca.jpg","51x762.8",[44],{"id":7628,"slug":7629,"title":7630,"dynasty":223,"author":4818,"museum":459,"description":7631,"tags":7632,"thumbUrl":7634,"material":808,"size":809,"collection":179,"collections":7635,"showCount":7636,"zanCount":928,"manualWeight":48,"mainColor":128},288474,"cun-bian-xing-hua-bai-jing-xin-wu-chang-shuo-288474","村边杏花白镜心","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,24,25,171,28,7633,7,119,153],"杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ca737f5bff74392f446ad17f4d8e5.jpg",[],74,{"id":7638,"slug":7639,"title":7640,"dynasty":54,"author":55,"museum":459,"description":7641,"tags":7642,"thumbUrl":7643,"material":179,"size":179,"collection":179,"collections":7644,"showCount":7636,"zanCount":928,"manualWeight":48,"mainColor":49},228449,"tao-cun-cao-tang-chou-ying-228449","桃村草堂","《桃村草堂图》明代 创作的绢本设色画，现收藏于北京故宫博物院。\n该图画一老者襟带飘然，风度高雅。\n栖居环境十分优美雅适，高山流水，小桥人家，苍松翠柏，桃花盛开，白云缭绕，草堂幽雅，凉亭洁静，宛如人间仙境。\n整幅画意境如诗入仙，画法精细工瑾，细致入微。\n通幅大青绿着色，色彩艳丽深重。\n这幅画是把滴翠的石绿、秀雅的淡赭、温润的墨色，自然和谐地统一在一起，具有一种不媚不俗的艺术效果。\n图中信步在浓郁的树荫下者即项元淇，他侧身而立，身穿宽服大衫，面目清秀，襟带飘然，风度翩翩，显得十分儒雅，为此图中的主人公：此画以山水为背景，景物十分繁复，远处，高山叠幛，山峰林立，山巅屹立，高峰两侧山势相应较矮小，形成“山”字形，山峦间白云缭绕，更远处的山头隐约可见山涧飞瀑高悬，奔腾直泻，叠泉涌流，水花四溅，汇集下部溪水中，溪水湍流，潺潺流淌：中部为山石嶙峋，有的竖立，有的横卧，错落有致，山石间松柏挺拔，与杂树并茂，山腰、山坳处桃花绽开，几乎染红半山腰，呈现出一派浓浓的春意。\n在苍松翠柏丛中，在半山腰的平坡处，座落草堂屋宇数间，半掩于山坡奇石之间，在桃林中筑孤亭，亭中几席书籍清晰可见，草堂四周环境十分优美，凉亭洁净，正是读书吟诗的好场所，宛如人间仙境。\n小溪从亭旁缓缓流过，溪流小桥上有一童子捧着书卷而来，一人从林荫深处向溪边缓步前来，此人正是主人翁项元淇。\n另有二童子，一在溪边洗砚，一携包屋前。\n清代昆度在边题中称“此图在十父图中亦足称第一。\n” 董其昌题跋：“仇实甫临宋画无不乱真，就中学赵伯驹者，更有出蓝之能，虽文太史让费及矣，此图是也。\n” 款识：“仇实父为少岳先生制。\n”画幅左方有明项元汴题“季弟元汴敬藏”。\n裱边左、右有子固、董其昌二跋。\n下裱徐石雪长跋。\n又有项元汴、耿信公、清高宗等鉴藏印二十方。\n此图是仇英为项元淇所绘。\n项元淇，宁子瞻，丁诗文草书。\n这所桃村草堂是项元淇的居处所，仇英在4岁左右被大鉴赏家、收藏家项元汴请至家中，在项家住了十年之久，为项氏绘画和临摹了大量作品，此《桃村草堂图》便是其中之一幅。\n据徐石雪题跋考证，画中老者即为项元淇。\n由于作者为主人绘制，所以落墨、设色十分认真。\n章法采用传统的“高远”构图法。\n画幅中虽景物繁多，尤其崇山峻岭，山峦叠嶂，可是在画家笔下山峰脉络清晰，山石用传统的勾勒手法，兼用细密的皴法和墨色的烘染，使山石富于质感和立体感：全画设色艳丽浓重，又不失淡雅的韵味。\n此画成功之处，还于突出桃村草堂的主人公项元淇的形象。\n主人公项元淇虽在整个画面中占的比例很小，但画家巧妙地将主人公安置于画面下方正中，身穿白色宽服长衫，特别醒目。\n同时，又注意到人物之间的比例关系，使主人公很自然地融汇到大自然之中。\n同时，画家十分巧妙地在亭子中陈设书籍，及溪边童子洗砚和一童子捧书过桥的情节，以此来说明主人公是一个文人雅士。\n北京故宫博物院研究员单国强：《桃村草堂图》藏于北京故宫博物院，学“二赵”青绿法，精细鲜丽，呈晚年本色画风。\n该图经清内府收藏，后为徐石雪所得。\n未见著录。\n现藏于北京故宫博物院。\n仇英（约1498—1552），字实父，号十洲，江苏太仓人，明代杰出画家。\n仇英早年曾是个油漆工，后改学画，师周臣。\n仇英善于摹古，不拘一家一派。\n人物、鸟兽、山水、楼观、舟车之类，都是他常描绘的对象。\n他的画题材广泛，风格工整秀丽，深受当时地主富商的喜爱。\n仇英的人物画最为精妙，尤其是仕女图，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或婉转舒畅，或劲丽艳爽，创历史风俗的新格，画风流丽纤巧，在当时反响很大，与沈周、文征明、唐寅并称为“明四家”。\n代表作有《松溪论画图》《汉宫春晓图》《桃园仙境图》《玉洞仙源图》《春夜宴桃李园图》等。",[23,24,25,202,28,29,27,30,61,116,7,64,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d7c8993b1840527a365334fa6a6479.jpg",[],{"id":7646,"slug":7647,"title":7648,"dynasty":18,"author":4856,"museum":459,"description":7649,"tags":7650,"thumbUrl":7651,"material":179,"size":179,"collection":179,"collections":7652,"showCount":7636,"zanCount":928,"manualWeight":48,"mainColor":49},227748,"wu-yun-lou-ge-tu-juan-zhao-bo-su-227748","五云楼阁图卷","卷 绢本设色 纵：31.8厘米 横：297.2厘米 美国克利夫兰博物馆藏 赵伯骕的作品精工细密，色彩虽然金碧辉煌但不失清润活泼，山石皴染，树叶枝干适当运用水墨山水画法，并掺以文人画的“气韵”，其风格既有青绿山水的明丽，又有文人水墨画的雅逸。",[23,152,24,26,27,28,29,118,30,62,63,64,115,7,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e6fc2b4dea5f5640fcca98811420e0.jpg",[],{"id":7654,"slug":7655,"title":7656,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":7657,"thumbUrl":7662,"material":808,"size":809,"collection":3244,"collections":7663,"showCount":7636,"zanCount":11,"manualWeight":48,"mainColor":985},225713,"avenue-of-poplars-in-autumn-october-fan-gao-225713","Avenue of poplars in autumn (October - )",[3239,3240,4869,7658,7659,502,35,61,7,7527,5371,7660,7661],"白杨树","林荫道","色彩浓郁","笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2365dd392564d9ae5188c6ce8b116d5.jpg",[3244],{"id":7665,"slug":7666,"title":7667,"dynasty":54,"author":55,"museum":20,"description":733,"tags":7668,"thumbUrl":7669,"material":40,"size":738,"collection":179,"collections":7670,"showCount":7636,"zanCount":48,"manualWeight":48,"mainColor":128},222186,"ren-wu-gu-shi-tu-nan-hua-qiu-shui-chou-ying-222186","人物故事图-南华秋水",[23,24,25,385,29,28,30,61,64,63,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97b45609e2c083db0ccce468498ced4.jpg",[],{"id":7672,"slug":7673,"title":7674,"dynasty":18,"author":1865,"museum":20,"description":7675,"tags":7676,"thumbUrl":7677,"material":7678,"size":7679,"collection":179,"collections":7680,"showCount":7636,"zanCount":928,"manualWeight":48,"mainColor":128},221487,"xiao-xiang-qi-guan-tu-juan-mi-you-ren-221487","潇湘奇观图卷","本幅无款印，后纸自题一段：“先公居鎮江四十年，作庵於城之東高崗上，以海岳命名，一時國士皆賦詩，不能盡記。翰林承旨翟公詩：‘楚米仙人好樓居，植梧崇岡結精廬。下瞰赤縣賓蟾鳥，東西跳丸天馳驅。腹藏萬卷胸垂胡，論議如何決九渠。掀髯送目遊八區，欲叫虞舜浮蒼梧。'云云，餘不能記也。此卷乃庵上所見，大抵山水奇觀，變態萬層，多在晨晴晦雨間，世人鮮複知此。余生平熟瀟湘奇觀，每於登臨佳處，輒複寫其真趣成長卷以悅目，不俟驅使爲之，此豈悅他人物者乎。此紙滲墨，本不可運筆，仲謀勤請不容辭，故爲戲作。紹興乙卯孟春建康□□官舍，友仁題。羊毫作字，正如此紙作畫耳。”乙卯为绍兴五年（1135年），米友仁50岁。后纸另有薛羲、葛元喆、吴匏硕、贡师泰、邓宇志、董其昌等宋、元、明14家题跋。\n米友仁为北宋著名书画家米芾长子，父子两人共创“米家山水”。此图绘米友仁十分熟悉的潇湘奇观景致，深得其“变态万层”之“真趣”。开卷便是浓云翻滚，隐现出远山坡脚，随着云气的飘动变幻，逐渐显露出山形，重迭起伏的峰峦影影绰绰地展现于团团白云中。中段山川始露出清晰真容，主山屹立，尖峰高耸，树丛映带，沙渚数重，甚富高远和深远感。结尾处山色又渐趋淡远，唯近处林岸、草庐明晰。自首至尾，迷濛、清明以及远近、浓淡，几度变幻，奥妙莫测。\n时隐时显，忽明忽晦，迷濛又富有变化，故时人谓他“善画无根树，能描朦胧云。”(汤垕《画鉴》)同时他也很讲究笔法，以大笔触的遒劲笔法来泼染水墨，墨随笔走，在大笔涂染块面中，多有纵点、横点、落茄点和不规则的破笔点，亦见连勾带擦的线条。笔与墨的有机结合，使米氏云山兼具滋润和沉郁的特色。\n清·郁逢庆《书画题跋记》、卞永誉《式古堂书画汇考》、吴升《大观录》、顾文彬《过云楼书画记》等书著录。",[23,24,26,114,118,25,119,120,153,30,243,37,7,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0617af63570b0d4a59d0dc7f30ea9f0d.jpg","茧纸本，墨笔","纵19.8厘米，横289厘米",[],{"id":7682,"slug":7683,"title":7684,"dynasty":54,"author":955,"museum":658,"description":7685,"tags":7686,"thumbUrl":7687,"material":7688,"size":7689,"collection":124,"collections":7690,"showCount":7636,"zanCount":48,"manualWeight":48,"mainColor":128},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","潇湘白云图","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,25,26,114,120,118,341,881,7,35,138,206,500,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[124,103],{"id":7692,"slug":7693,"title":7694,"dynasty":133,"author":355,"museum":167,"description":7695,"tags":7696,"thumbUrl":7697,"material":360,"size":7698,"collection":124,"collections":7699,"showCount":7636,"zanCount":928,"manualWeight":48,"mainColor":49},220814,"shan-zhong-gui-yin-tu-wang-meng-220814","山中归隐图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,152,30,114,202,118,341,342,7,204,358,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 140.7x53.4公分；全幅 78公分",[124,103],{"id":7701,"slug":7702,"title":7703,"dynasty":223,"author":7704,"museum":111,"description":7705,"tags":7706,"thumbUrl":7707,"material":122,"size":7708,"collection":44,"collections":7709,"showCount":7636,"zanCount":48,"manualWeight":48,"mainColor":128},219425,"shui-hui-yuan-ya-ji-tu-zhou-dai-cang-219425","水绘园雅集图轴","戴苍","此画记录了冒辟疆等名士在其私家园林水绘园中的一次雅集。园中山水清远，松荣菊艳，一位僧人打坐石下。两位文人在树下品茶论茗，神态怡然。画面中心石桌前一位老者展卷沉吟，正要落笔作画，另一人据案闲坐，须发尽白，是座中年纪最长的，据画上题跋，已有八十三岁。而画面正中扶手竹椅上坐着的正是此时六十五岁的水绘园主人冒辟疆，他正慈祥看着自己的孙子若有所思。",[152,24,25,202,28,29,61,30,7,244,540,2938,1524,5482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7cdd29f797fe827316b5107f1946d5.jpg","纵146厘米，横72.9厘米",[44],{"id":7711,"slug":7712,"title":7713,"dynasty":18,"author":434,"museum":167,"description":7714,"tags":7715,"thumbUrl":7716,"material":78,"size":7717,"collection":42,"collections":7718,"showCount":7636,"zanCount":48,"manualWeight":48,"mainColor":128},218809,"jie-hua-lou-ge-1-yi-ming-218809","界画楼阁1","这幅画描绘了一个山间别墅的庭院，有雕花栏杆和奇花异木，这应该是一个富裕家庭的家。这座建筑的风格与署名为马麟的亭子相似，这幅画可以追溯到南宋时期。",[23,24,25,385,59,28,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f6e3d094caae67171695fac9a80a22.jpg","23.7x26.4",[42],{"id":7720,"slug":7721,"title":7722,"dynasty":223,"author":4335,"museum":20,"description":7723,"tags":7724,"thumbUrl":7725,"material":122,"size":7726,"collection":124,"collections":7727,"showCount":7636,"zanCount":48,"manualWeight":48,"mainColor":128},218467,"ming-shan-fang-sheng-tu-cha-shi-biao-218467","名山访胜图","层峦叠嶂间，小径蜿蜒探入深林，溪流穿石而过，泠泠水声漫过石桥。苍松翠竹错落，墨色浓淡相宜——淡染的远山隐在云气中，含烟带雾；近坡的茅屋隐约，似有隐士栖居，添几分幽寂。笔触疏朗灵动，皴擦见山石肌理，水墨晕染出空濛之境，尽显山林清旷之趣。整幅画如淡远的诗，将寻访名山的雅致与自然静谧融于尺幅，引人入胜，心向往之。",[23,24,114,118,30,116,63,64,7,426,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768529aa0c136cf7b2f2fb8485abd65f.jpg","150×58cm",[124],{"id":7729,"slug":7730,"title":7731,"dynasty":54,"author":7732,"museum":5034,"description":7733,"tags":7734,"thumbUrl":7735,"material":28,"size":179,"collection":44,"collections":7736,"showCount":7636,"zanCount":48,"manualWeight":48,"mainColor":128},216774,"ri-ben-xian-ren-gao-shi-tu-ping-feng-you-shou-ye-yong-de-216774","日本· 仙人高士图屏风（右）","狩野永德","虬松盘曲，枝叶垂荫，林间高士或立或行，衣袂轻扬。一人俯身似拾幽趣，几人对语如论玄言，神态闲适淡然，尽得超脱尘俗之致。背景山水晕染朦胧，草木疏朗，与人物清逸之姿相映成趣。笔墨简练传神，衣纹流转自然，树木皴法古雅，将林泉之幽、高士之韵融于尺幅，营造出空灵悠远的意境，尽显文人画的雅致情怀。",[23,174,114,437,28,61,7,117,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2dc8a5fc99d7b36be27e50fc56ec0a.jpg",[44],{"id":7738,"slug":7739,"title":1188,"dynasty":620,"author":771,"museum":459,"description":1189,"tags":7740,"thumbUrl":7741,"material":808,"size":809,"collection":179,"collections":7742,"showCount":7743,"zanCount":48,"manualWeight":48,"mainColor":49},289334,"long-su-jiao-min-tu-dong-yuan-289334",[23,152,24,475,28,118,243,32,7,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed712e724d0c3b83b224acb00bda72a0.jpg",[],73,{"id":7745,"slug":7746,"title":7747,"dynasty":223,"author":7748,"museum":167,"description":7749,"tags":7750,"thumbUrl":7752,"material":808,"size":809,"collection":179,"collections":7753,"showCount":7743,"zanCount":48,"manualWeight":48,"mainColor":49},287872,"qing-yuan-ben-qing-ming-shang-he-tu-juan-chen-mei-287872","清院本清明上河图卷","陈枚","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[23,152,24,26,29,28,61,62,67,36,68,7,704,7751,65,71,90,2570,59],"市井生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49ed9bc2260582398ec60fe7c2077bb.jpg",[],{"id":7755,"slug":7756,"title":7757,"dynasty":54,"author":434,"museum":459,"description":7758,"tags":7759,"thumbUrl":7762,"material":179,"size":179,"collection":179,"collections":7763,"showCount":7743,"zanCount":928,"manualWeight":48,"mainColor":49},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,24,25,26,28,29,60,119,171,156,172,1620,7,117,1621,7760,2193,7761],"日","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],{"id":7765,"slug":7766,"title":7767,"dynasty":990,"author":2220,"museum":459,"description":7768,"tags":7769,"thumbUrl":7770,"material":179,"size":179,"collection":179,"collections":7771,"showCount":7743,"zanCount":48,"manualWeight":48,"mainColor":49},227243,"gong-dian-tu-ye-li-zhao-dao-227243","宫殿图页","大小李将军：李思训、李昭道\n\n李思训 (653一718)唐代书画家。成纪(今甘肃天水)人。唐宗室,高宗时为江都令。武则天当政，弃官潜匿。神龙元年(705)出为宗正卿。玄宗开元初官左武卫大将军。李邕碑称「云麾将军」。工书法，尤擅画山水树石，笔力犹劲。格调细密。好写湍獭潺湲，云霞缥缈之景，鸟兽草木，皆穷其态。朱景玄说他「国朝山水第一，列神品」。这种青绿为质、金碧为纹的山水画，富有装饰性，源出于隋代展子虔，继承并发展了六朝以来以色彩为主的表现形式。明代董其昌推之为「北宗上之祖。唐代张彦远说「山水之变，始于吴(道子)，成于二李(思训、昭道)」。世称「二李」为「大、小李将军」。画迹有《山居四皓图》、《江山渔乐图》、《群峰茂林图》等十七件，著录于《宣和书谱》。存世作品有《江帆楼阁图》轴，绢本，设色，长松秀岭，翠竹掩映，山径层迭，碧殿朱廊，江天阔渺，风帆溯流，具唐衣冠者四人，山右青绿，有简单斫笔，安岐评谓「傅色古豔，笔墨超轶。」现藏台北故宫博物院。",[23,24,25,27,28,59,30,62,117,7,726,61,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0c482941c845fe70d4fbfffeaffeec.jpg",[],{"id":7773,"slug":7774,"title":7775,"dynasty":223,"author":434,"museum":459,"description":7776,"tags":7777,"thumbUrl":7779,"material":179,"size":179,"collection":179,"collections":7780,"showCount":7743,"zanCount":48,"manualWeight":48,"mainColor":49},224247,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-shi-er-yue-zhou-yi-ming-224247","清画院画十二月月令图十二月轴","画卷取景分野墅与深宅两重天地。上半幅里远山素裹，寒林枝桠凝霜，冰封湖面化作天然冰场，乡野村人驰骋滑行，雪色间漫着冬日野趣。\n下半处宅邸雅致规整，廊下仆从往来奔走，庭院里孩童们攒雪团、掷雪球，闹作一团，将深宅岁末的暖意烘起。\n全画工笔精细，设色清柔，将冬日的清寂与岁末烟火揉为一处，既有山野萧寒的静谧，也有家宅团圆的温煦，尽绘冬闲时分的太平意趣。",[23,24,152,202,29,28,59,30,62,61,818,70,7,91,35,7778],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f59e4bc38c1e3653cd281477159710.jpg",[],{"id":7782,"slug":7783,"title":7784,"dynasty":18,"author":434,"museum":20,"description":7785,"tags":7786,"thumbUrl":7787,"material":7788,"size":7789,"collection":42,"collections":7790,"showCount":7743,"zanCount":48,"manualWeight":48,"mainColor":49},223563,"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[23,152,24,25,26,28,30,7,63,64,115,35,118,29,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","絹本設色","纵24.5厘米，横185.5厘米",[42,124,103],{"id":7792,"slug":7793,"title":7794,"dynasty":54,"author":7795,"museum":20,"description":7796,"tags":7797,"thumbUrl":7799,"material":1218,"size":7800,"collection":124,"collections":7801,"showCount":7743,"zanCount":48,"manualWeight":48,"mainColor":128},222223,"nan-xi-cao-tang-tu-juan-wen-bo-ren-222223","南溪草堂图卷","文伯仁","在明代吴门地区的绘画中，以名人的室名、别号为题材或描绘文人、官宦所居庄园、别墅景观的作品为数众多，此图即属于后一种。根据卷后王穉登所撰《重建南溪草堂记》可知，此图描绘的是江南望族顾氏的庄园“南溪草堂”重修后的景致。\n图中水道蜿蜒纵横，竹林丛树、渔舟小桥、草堂庙宇等散布杂错，建筑与自然景物融为一体，自然和谐。虽有农田、药圃，但无农人艰辛劳作之状，表现的是江南文人泛舟读书的优雅闲适的生活。图中庄园较之一般江南园林的文雅精致，另有一种田园野趣，别具特色。\n全画构图密而不乱，平坡土石以干笔勾勒、皴染，树冠枝叶多以极富变化的墨点画成，点染兼用，间或出以双勾，皆富于层次感。全图笔墨清劲简洁，风格柔和明秀，代表了文伯仁晚年的典型艺术风貌。\n近人汪士元《麓云楼书画论略》著录。",[23,24,26,28,118,30,63,64,116,7,358,115,61,7798,117,1044],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318c928a273f8a65e6b7ff89c010e31d.jpg","纵34.8厘米，横713.5厘米",[124,45],{"id":7803,"slug":7804,"title":7805,"dynasty":133,"author":4150,"museum":167,"description":7806,"tags":7807,"thumbUrl":7809,"material":28,"size":7810,"collection":44,"collections":7811,"showCount":7743,"zanCount":48,"manualWeight":48,"mainColor":49},221852,"hua-ke-jiu-si-xie-bin-feng-tu-juan-wang-zhen-peng-221852","画柯九思写豳风图卷","豳，在岐山北，为周先世立国之地。据说成王（？－西元前1021）幼年继位，周公（？－西元前1032）摄政，为令成王了解农桑为政教首务，并关心百姓的四季生活，作豳风晓谕周人祖先后稷、公刘稼穑重农的传统。此卷图绘〈豳风?七月〉，为孔子所辑《诗经》十五国风中最长的一首，由农事之始写至农事之终，先写衣食，次叙农耕蚕桑，最后论至打猎与秋收冬藏，共计八段，全卷青绿设色，每段旁书原文参照。旧题与跋均以为是元代王振鹏（活动于十四世纪前半），及柯九思（1290－1343）作品，然画中已见明代仇英（约1494－1552）影响，推测应为十六世纪后苏州托名之作。",[23,152,24,26,28,29,61,30,63,64,7,591,117,7808],"景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb935cec3f8c3cf1b21654d10eed78a.jpg","高53.8隔12本893隔12拖127厘米",[44,45],{"id":7813,"slug":7814,"title":7815,"dynasty":18,"author":575,"museum":167,"description":7816,"tags":7817,"thumbUrl":7818,"material":7819,"size":7820,"collection":42,"collections":7821,"showCount":7743,"zanCount":48,"manualWeight":48,"mainColor":49},221515,"hua-deng-shi-yan-tu-zhuang-biao-ma-yuan-221515","华灯侍宴图（装裱）","描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n构图:一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引\n技法:此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。",[23,24,25,29,28,30,62,7,61,59,69,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345c3f34a1ad94ec43a66b9c6788247.jpg","设色 墨本","111.9公分 横：53.5公分",[42,44,45],{"id":7823,"slug":7824,"title":7825,"dynasty":54,"author":5967,"museum":423,"description":7826,"tags":7827,"thumbUrl":7828,"material":78,"size":7829,"collection":124,"collections":7830,"showCount":7743,"zanCount":48,"manualWeight":48,"mainColor":49},220068,"han-lin-xing-lv-tu-xie-shi-chen-220068","寒林行旅图","画面以高远、平远之境铺陈，危崖层叠向上，虬松枯木扎根岩隙，枝桠劲挺尽显冬日元气。中层江天寥廓，远帆点点，衬出寒山空寂萧疏。近处以栈道行旅、山居茅舍破了荒寒，添上烟火暖意。\n\n笔墨兼融雄健与雅致，斧劈皴勾勒山石嶙峋质感，枯笔写木，笔力苍劲老辣，既绘出冬日山林的清寂荒寒，又暗藏旅人赶路的生趣，将山野冷意与人情暖意相融，大气苍莽又不失细腻意韵。",[24,114,118,202,30,748,205,117,204,61,90,115,7,426,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa68c24099e5a53a7f113148c70a7c46.jpg","151.5x74",[124],{"id":7832,"slug":7833,"title":7834,"dynasty":54,"author":5967,"museum":56,"description":7835,"tags":7836,"thumbUrl":7837,"material":78,"size":7838,"collection":124,"collections":7839,"showCount":7743,"zanCount":11,"manualWeight":48,"mainColor":49},219716,"song-xi-qin-ke-tu-xie-shi-chen-219716","松溪琴客图","危峰层叠巍峨，苍松盘桓于崖壁间，飞瀑隐入烟岚。中部水面空濛留白，汀渚间楼宇半掩，将山野空寂的悠远铺展开来。近岸老松郁茂，清溪蜿蜒穿林，松下雅士围坐，琴韵似随溪水潺潺漫溢山林。\n\n笔墨兼取刚劲与秀润，皴擦点染勾勒出山石肌理的苍劲，淡墨晕染烟霭，虚实相生间，将雄阔山水之壮与林泉雅集之逸相融，把文人寄情丘壑、静享幽居的意趣藏进每一处留白，绘就出一卷兼具大气与闲雅的山居清景。",[24,25,152,202,114,28,118,30,540,64,204,61,117,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa866c2cd2f276fdb3cca85d0d64f70.jpg","141x71.1厘米",[124],{"id":7841,"slug":7842,"title":7843,"dynasty":54,"author":3786,"museum":167,"description":7844,"tags":7845,"thumbUrl":7848,"material":28,"size":7849,"collection":124,"collections":7850,"showCount":7743,"zanCount":11,"manualWeight":48,"mainColor":49},219458,"chun-shan-xi-ge-tu-lu-zhi-219458","春山溪阁图","弘治九年（1496年）生。世代耕读，其父与文徵明有交谊，遂从学于文徵明门下。早年为诸生，屡试不中，转为书画，善画山水、花鸟。隐居支硎山。",[24,28,30,118,7846,7847,63,64,7,117,62],"春山","溪阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd616fa2129ced1c381c18d595332f452.jpg","118.5x66.1",[124],{"id":7852,"slug":7853,"title":7854,"dynasty":223,"author":7855,"museum":20,"description":7856,"tags":7857,"thumbUrl":7859,"material":122,"size":7860,"collection":124,"collections":7861,"showCount":7743,"zanCount":928,"manualWeight":48,"mainColor":128},218377,"tao-yuan-tu-wu-wei-ye-218377","桃源图","吴伟业","此画近景一片崎岖不平的丘陵地带，山势平缓，山头林立，如鱼鳞状似的。山间松柏竞相生长，间以杂木和草木遍布山间和山脚下，远见为山重水复，一片又一片宽阔平坦的田野，沃土月巴田，田畴连遍，犹如龟背纹一般。阡陌间和丛树下村舍遍布。在平坦的平野上有宽阔的湖泊，如镶嵌着一面面平镜，闪烁发光。湖面两岸桃林遍野，鲜花盛开，在湖间渔舟忙碌地来回如穿梭似的。山中疏树流泉，白云缭绕。后纸有近代颜乙题记四段，曾经近代任振廷收藏。",[23,24,25,26,28,29,118,119,120,153,30,154,243,32,2796,7,63,64,3778,37,358,7858,206],"梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11e4a5643cc8a463685f001fe4aa2ef.jpg","纵29.4厘米，横375.1厘米",[124],{"id":7863,"slug":7864,"title":7865,"dynasty":54,"author":4044,"museum":20,"description":7866,"tags":7867,"thumbUrl":7868,"material":3554,"size":7869,"collection":124,"collections":7870,"showCount":7871,"zanCount":928,"manualWeight":48,"mainColor":128},236306,"xie-qin-fang-you-tu-zhou-sun-zhi-236306","携琴访友图轴","在历代抱琴与携琴图中，多是主人负手举步，缓缓前行，身后跟着抱琴童子。琴多在琴囊之中或被书童抱在怀里，线条干净简单。“我醉欲眠君且去，明朝有意抱琴来”，携琴访友的题材，历代均有描绘，如宋代范宽，明代文徵明、戴进、孙枝，清代陈卓、王翚、黄慎等都有名为《携琴访友图》的作品。代表了一种处于进行时的文士风雅，雅集即将开幕，雅乐即将奏响，一切处于将发而未发之状态，与含蓄蕴藉的古琴精神相合，甚至比对面抚琴更让人有所期待",[24,114,118,202,30,63,64,61,116,7,117,204,156,1840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa969847ed7cf030565acd834b399bb46.jpg","纵121.3cm，横31.5cm",[124,103],72,{"id":7873,"slug":7874,"title":7875,"dynasty":18,"author":312,"museum":167,"description":7876,"tags":7877,"thumbUrl":7878,"material":140,"size":7879,"collection":179,"collections":7880,"showCount":7871,"zanCount":48,"manualWeight":48,"mainColor":49},231834,"chang-jiang-wan-li-tu-qian-ban-juan-xia-gui-231834","长江万里图（前半卷）","画卷的前半段，以近平视的角度近景特写江岩块、林木，以及行的舟船，表现三长江峡险峻和波涛汹涌的痛痛\n后半段则是俯视和远观的角度以及江景的活动，沿途所见美景。\n从近逼观者的景物转换到辽阔空旷的范围，这种构图的方式具有戏剧性的效果。\n夏圭，字禹玉，钱塘人，生卒年不详，稍晚于马远，宁宗朝画院待诏。他的山水画在构图和笔墨技法方面与马远非常相似，因此画史上一向以马、夏并称 。夏圭作品的风格和马远接触共同点，又各有独特的境界。马、夏山水大量剪裁，全景拍摄而画边角之景，因被称为「马一角」、「夏半边」 。他们在艺术上的高度提炼，是对传统山水画的发展和深度。",[23,24,25,26,114,118,30,62,7,115,64,117,116,156,89,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","该幅26.8x1115.3公分",[],{"id":7882,"slug":7883,"title":7884,"dynasty":620,"author":2232,"museum":459,"description":7885,"tags":7886,"thumbUrl":7887,"material":179,"size":179,"collection":179,"collections":7888,"showCount":7871,"zanCount":48,"manualWeight":48,"mainColor":49},226702,"hu-shan-chun-xiao-tu-ju-ran-226702","湖山春晓图","《五代·巨然湖山春晓图》是216年安徽美术出版社出版的图书，作者是陈传席。\n《五代·巨然 湖山春晓图》没有作为主骨干的山石轮廓线，皴染较简，云雾留白，主要以淡墨描绘出山川炯润之意。\n树干勾染，树叶用墨点簇而成，画面清淡。\n从风格上来判定，此图应是元代以后的仿古之作。",[23,152,24,25,202,114,28,118,774,30,341,342,37,244,540,7,206,1705,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],{"id":7890,"slug":7891,"title":7892,"dynasty":223,"author":4524,"museum":7893,"description":7894,"tags":7895,"thumbUrl":7896,"material":1218,"size":7897,"collection":124,"collections":7898,"showCount":7871,"zanCount":928,"manualWeight":48,"mainColor":49},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[23,24,25,26,28,30,118,29,119,120,153,117,62,63,64,116,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[124,45],{"id":7900,"slug":7901,"title":7902,"dynasty":54,"author":801,"museum":658,"description":7903,"tags":7904,"thumbUrl":7905,"material":230,"size":7906,"collection":124,"collections":7907,"showCount":7871,"zanCount":11,"manualWeight":48,"mainColor":128},222356,"cao-wu-pu-tuan-tu-tang-yin-222356","草屋蒲团图","绘江南初秋之景色。前景画茅屋于山麓，屋内一文士抱膝坐于蒲团晨读。人物刻划生动，双目炯炯有神，衣纹线描流畅有力。茅屋左面巨石竖立，五株墨竹拔地参天，笔墨苍劲，虚实得当，时隐时现，给人以动感。背景用水墨烘染群山，山腰间云雾飘动，富于变化;山谷间飞泉直泄，形成清溪，环绕草屋湍流而过。整个画面环境幽雅、清静，给人以浑厚、凝重之感。唐寅，字伯虎，又字子畏，号六如居士，桃花庵主，生于明成化六年(1470)，卒于嘉靖二年(1523)。他是位很有才华的画家，初师沈周，后学周臣，远宗李唐、刘松年，近攻元四家，山水、花鸟、人物、仕女无所不精，在技法上虽取法前人，但不落尘俗，自出新意。从唐氏传世作品看，多见雅淡、秀润、细腻，而此作却多雄浑、凝重，这在唐氏作品中还是极为少见的。此图右上端作者自题：“虚亭林木里，傍水着栏干，试展团蒲坐，叶声生早寒”。五言诗一首。下钤“吴趋”、“唐居士”、“南京解元”印三方。此作品的创作时间，应在唐寅四十岁左右。",[23,152,24,25,202,114,28,118,30,61,5612,1665,117,7,37,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f4e471afd9024c518a44d2335c9ae3.jpg","84x52",[124,103],{"id":7909,"slug":7910,"title":7911,"dynasty":18,"author":713,"museum":20,"description":7912,"tags":7913,"thumbUrl":7914,"material":415,"size":7915,"collection":179,"collections":7916,"showCount":7871,"zanCount":11,"manualWeight":48,"mainColor":128},221510,"lu-tong-peng-cha-tu-juan-liu-song-nian-221510","卢仝烹茶图卷","此画画山石瘦削，有松槐生石罅，下覆茅屋。卢仝拥书坐，赤脚。婢治茶具，长须奴肩壶汲泉。款落刘松年，蝇头小楷，署在松节。后幅有唐寅跋：“右玉川子烹茶图，乃宋刘松年作。玉川子豪宕放逸，傲睨一世，甘心数间之破屋，而独变怪鬼神于诗。观其《茶歌》一章，其平生宿抱忧世超物之志，洞然于几语之间，读之者可想见其人矣。松年复绘为图，其亦景行高风，而将以自企也。夫玉川子之向，洛阳人不知也，独昌黎知之。去昌黎数百年，知之者复寒矣。而松年温之，亦不可不为之遭也。予观是图于石湖卢臬副第，喜其败炉故鼎、添火候鸣之状宛然在目，非松年其能握笔乎书此以俟具法眼者。唐寅。”",[23,24,25,26,114,29,61,7,35,540,1665,1525,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a801a8050e41c693fef9c47af61fc7.jpg","24.1x44.7",[],{"id":7918,"slug":7919,"title":7920,"dynasty":18,"author":7921,"museum":459,"description":7922,"tags":7923,"thumbUrl":7924,"material":7925,"size":7926,"collection":42,"collections":7927,"showCount":7871,"zanCount":48,"manualWeight":48,"mainColor":49},221224,"yan-jiang-yu-yu-tu-ye-pu-an-221224","烟江欲雨图页","朴庵","整幅画笔墨奔放，气势磅礴，水墨迈阿密的效果淋漓尽致。是南宋马夏一派",[23,152,24,25,385,114,118,30,7,5576,500,4810,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da05bc26f2c363a81a72b51990a6dbb.jpg","绢本墨笔","纵24.9厘米、横26.3厘米",[42,124,103],{"id":7929,"slug":7930,"title":380,"dynasty":223,"author":3469,"museum":111,"description":7931,"tags":7932,"thumbUrl":7933,"material":78,"size":7934,"collection":124,"collections":7935,"showCount":7871,"zanCount":928,"manualWeight":48,"mainColor":128},219846,"shan-shui-tu-ce-xie-sun-219846","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[24,25,385,28,114,118,30,35,7,117,64,1364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79324e826001e1ae611d0f3618e1a31f.jpg","14.2x19.2",[124],{"id":7937,"slug":7938,"title":7939,"dynasty":18,"author":3371,"museum":111,"description":7940,"tags":7941,"thumbUrl":7942,"material":78,"size":7943,"collection":45,"collections":7944,"showCount":7871,"zanCount":48,"manualWeight":48,"mainColor":49},219745,"lou-tai-ye-yue-tu-wan-shan-ye-ma-lin-219745","楼台夜月图纨扇页","《楼台夜月图》为一小景图纨扇页，裁取亭廊台谢的一角之景，图上高柳擢秀、明月当空、山岩稍露、长廊俯见其顶、台榭俨然。在用笔上，岩石以斧劈皴法、亭榭以工稳的界笔画法，树叶全以点缀法，远山烘青，渲染设色，高空浩月，杨柳林中隐约可见楼台复道亭园之景，为马麟的精丽之作。",[24,152,25,2895,28,59,30,62,2316,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575197ec72f706dcbff331880e1f0f61.jpg","纵24.5厘米，横25.2厘米",[45],{"id":7946,"slug":7947,"title":7948,"dynasty":223,"author":1533,"museum":111,"description":7949,"tags":7950,"thumbUrl":7951,"material":78,"size":179,"collection":124,"collections":7952,"showCount":7871,"zanCount":928,"manualWeight":48,"mainColor":128},218266,"guan-shan-qiu-ji-tu-zhou-wang-jian-218266","关山秋霁图轴","布局紧凑，丘壑较琐碎，皴笔尖峭，转折方峻。但笔力不够浑厚，时有抖擞之笔，墨色也偏于枯索，画面气势不及盛年时雄伟华滋。",[24,25,202,28,118,119,153,30,341,342,7,244,206,502,2869,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b6b7652eda8f2b82c3adc186ddd27f.jpg",[124],{"id":7954,"slug":7955,"title":1416,"dynasty":223,"author":7956,"museum":20,"description":7957,"tags":7958,"thumbUrl":7959,"material":122,"size":7960,"collection":44,"collections":7961,"showCount":7871,"zanCount":11,"manualWeight":48,"mainColor":128},216933,"bing-xi-tu-zhang-wei-bang-216933","张为邦","这幅图像描绘了 龙射天球。在画的右侧，在人群的包围下，是皇帝的华丽冰床。在冰面上，旗手和弓箭手间隔排列，在冰面上绕圈滑行，游行队伍蜿蜒成龙的形状。冰面上有一道门，上面挂着一个球，叫做天球。当队伍走到这一步时，他们转过身来，向球射箭，射中者会得到奖励。游行过程中还包括杂技表演，如倒立、舞剑、腾空、中国旗帜和鹰心。",[23,29,28,26,61,1422,62,7,1420,69,93,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b093624e4bb931e68fd779aaf95d99.jpg","36.5x563",[44],{"id":7963,"slug":7964,"title":7965,"dynasty":18,"author":5157,"museum":459,"description":7966,"tags":7967,"thumbUrl":7969,"material":808,"size":809,"collection":179,"collections":7970,"showCount":7971,"zanCount":666,"manualWeight":48,"mainColor":49},289337,"song-ren-ying-xi-tu-su-han-chen-289337","宋人婴戏图","细审画中人物五官、发型、服饰，率皆钩染细腻，神情毕具，然配景花树、湖石苔点，失之刻镂，画法已近明人习气。 饶有苏汉臣一派“著色鲜润、体度如生”的意趣。惟配景花树，失之刻镂、少自然，加以湖石上附加的苔点，画法已近乎明人习气。此图表现出儿童游戏轻松诙谐的一面。以是，推断此幅原应有所本，当属明代仿宋的佳作。",[24,29,28,61,3169,7968,4472,7,591,806,70],"童趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbb027ec6f04ae9381a03904106a8b.jpg",[],71,{"id":7973,"slug":7974,"title":7975,"dynasty":223,"author":325,"museum":20,"description":7976,"tags":7977,"thumbUrl":7984,"material":415,"size":7985,"collection":179,"collections":7986,"showCount":7971,"zanCount":48,"manualWeight":48,"mainColor":128},234912,"qian-long-huang-di-she-lie-tu-zhou-lang-shi-ning-234912","乾隆皇帝射猎图轴","《乾隆皇帝射猎图》是清代 等人创作的绢本设色画，现收藏于 。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[24,25,152,202,565,29,28,7978,7979,61,90,7980,7981,7,411,502,5426,7982,7983],"中西合璧技法","写实风格","弓箭","射猎场景","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","25.7×33厘米",[],{"id":7988,"slug":7989,"title":7990,"dynasty":223,"author":472,"museum":459,"description":7991,"tags":7992,"thumbUrl":7993,"material":179,"size":179,"collection":179,"collections":7994,"showCount":7971,"zanCount":11,"manualWeight":48,"mainColor":49},224431,"song-feng-die-zhang-tu-wang-shi-min-224431","松风叠嶂图","此作用全景式构图铺展丘壑，主峰崔嵬凌天，层峦迤逦延展，兼具高远之雄与深远之幽。以披麻皴写山石肌理，笔触松秀温润，浅绛设色晕染柔和，古雅苍润间带着清和明丽。\n苍松虬枝横斜，涧谷飞泉隐现，山居茅舍错落掩映于林麓间，处处透着幽寂闲逸的林下意趣。题款书法清雅隽秀，与山水笔墨浑然相融，尽显宋元文人画平淡天真的意韵，将林泉高致的静穆之美，尽数凝于尺幅之间，是追摹古意又暗含己心的山水佳制。",[23,24,475,28,118,540,31,64,7,117,358,63,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84858b1ff2685d5dbd3bc173639e5d99.jpg",[],{"id":7996,"slug":7997,"title":3408,"dynasty":54,"author":7998,"museum":20,"description":7999,"tags":8000,"thumbUrl":8002,"material":40,"size":8003,"collection":44,"collections":8004,"showCount":7971,"zanCount":11,"manualWeight":48,"mainColor":49},222049,"huo-lang-tu-ji-sheng-222049","计盛","“货郎图”属于风俗画，这一题材自宋代以来就十分流行。画面中货郎衣着整洁，儿童服饰华丽，货架上的各类物品丰富而精致。画法上刻画细腻，设色浓艳，已将宋人民间货郎图中的生活气息转化为宫廷贵族气息，因而又有“宫廷货郎”之称。",[23,24,25,28,29,59,61,1170,3412,175,8001,7,1621,4472],"鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379a6e73b4bffc5ce7f9a7fab61b9170.jpg","纵192.4厘米，横98.7厘米",[44,45],{"id":8006,"slug":8007,"title":8008,"dynasty":18,"author":8009,"museum":3521,"description":8010,"tags":8011,"thumbUrl":8012,"material":140,"size":8013,"collection":42,"collections":8014,"showCount":7971,"zanCount":928,"manualWeight":48,"mainColor":49},221302,"shan-zhuang-tu-ye-yi-yuan-ji-221302","山庄图页","易元吉","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[23,24,25,152,28,118,30,63,64,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f88332f8b93c6ca6e62d137e999a3fc.jpg","31×30",[42,124,45],{"id":8016,"slug":8017,"title":1178,"dynasty":54,"author":434,"museum":167,"description":8018,"tags":8019,"thumbUrl":8020,"material":114,"size":179,"collection":103,"collections":8021,"showCount":7971,"zanCount":48,"manualWeight":48,"mainColor":49},219345,"shan-shui-zhou-yi-ming-219345","峰峦叠嶂间云雾氤氲，墨色皴擦出山石肌理，浓淡相宜间尽显丘壑之姿。松枝苍劲，竹影婆娑，掩映着几椽屋舍，屋前似有人凭栏凝思，桥边或有客缓步寻幽。流水潺潺绕石矶，与远山朦胧相映成趣。画作以简练线条勾勒景致，留白处见空灵，墨韵间藏生机，将山水静谧与文人雅趣融于一体，仿佛能闻林间清风，听案上琴音，尽显东方美学的含蓄悠远。",[24,25,202,114,118,30,341,540,35,63,7,37,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07f8a98cf77e3944329d1fc96a3eb6.jpg",[103],{"id":8023,"slug":8024,"title":8025,"dynasty":223,"author":4524,"museum":56,"description":8026,"tags":8027,"thumbUrl":8028,"material":122,"size":8029,"collection":179,"collections":8030,"showCount":7971,"zanCount":928,"manualWeight":48,"mainColor":128},216250,"jing-fu-si-qi-dong-jing-tu-8-qian-wei-cheng-216250","景敷四气冬景图-8","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n蜡以黏英珊结子，有花有实冒冬荣。惟应罗汉松高见，不屑别传三友名。钤印：静中观造化",[24,114,28,118,30,115,579,289,64,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93f1bcbd0305cbd9f3595cfd4faef6d.jpg","21.9 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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[23,152,24,25,26,28,118,30,115,62,117,7,64,2043,116,120,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],{"id":8047,"slug":8048,"title":8049,"dynasty":223,"author":8050,"museum":459,"description":8051,"tags":8052,"thumbUrl":8053,"material":179,"size":179,"collection":44,"collections":8054,"showCount":8037,"zanCount":48,"manualWeight":48,"mainColor":128},239309,"shi-nv-tu-ye-huang-yao-239309","仕女图页","黄曜","柳荫垂覆，朱栏萦立，仕女素衣雅致，鬟发温婉，凭栏凝睇架上青鸟，眉眼间晕着淡淡幽思。浅设色晕染出枝叶清润质感，衣袂褶皱柔缓舒展，将闺中女子春日里的缱绻闲愁悄然铺陈。左侧题字配印，笔墨秀雅与画面相映。\n\n全画笔致清隽细腻，将江南春景的柔婉与仕女静穆怅惘相融，淡墨轻岚间静中生韵，把闺中闲绪糅入春日烟柳，含蓄绵长的古典情致漫溢纸面，余味悠然。",[24,25,385,29,28,61,170,156,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4560235a4bc933ed5d63f130017ba2f9.jpg",[44],{"id":8056,"slug":8057,"title":2168,"dynasty":18,"author":713,"museum":459,"description":8058,"tags":8059,"thumbUrl":8060,"material":179,"size":179,"collection":179,"collections":8061,"showCount":8037,"zanCount":48,"manualWeight":48,"mainColor":49},227806,"qing-lv-shan-shui-tu-ye-liu-song-nian-227806","此作以青绿晕染山峦，淡墨勾勒丘壑轮廓，糅合精工雅致与烟火意趣。春柳垂荫如翠色帷幕，将画面切割出疏密层次，树下行人往来如织，或策马徐行，或驻足交谈，石桥下溪水流淌，三两村人浣洗休憩，鲜活的市井日常跃然纸面。\n\n远景峰峦逶迤，以石青石绿轻敷，敷色秀润沉稳，不见浓艳浮薄，将春日山野的明媚柔丽晕染开来。笔致细巧灵动，把山水之幽与俗世之暖相融，于尺幅之间铺展了一卷生机盎然的春日山居行乐图，尽显春日江南山野的悠然意韵。",[23,152,24,25,2244,27,28,30,61,63,64,90,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F485a6a80668b2daa57a22eff4e87382a.jpg",[],{"id":8063,"slug":8064,"title":8065,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":8066,"thumbUrl":8074,"material":808,"size":809,"collection":3244,"collections":8075,"showCount":8037,"zanCount":48,"manualWeight":48,"mainColor":6966},225774,"landschaft-mit-pferdewagen-und-zug-im-hintergrund-fan-gao-225774","Landschaft mit Pferdewagen und Zug im Hintergrund",[3239,3240,6957,8067,3148,8068,8069,35,7,74,8070,8071,8072,8073,6963],"色彩鲜艳","马车","火车","农作物","红色屋顶","绿色田野","蓝色作物带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae145fc6868a7a61712751a2cb0da98b.jpg",[3244],{"id":8077,"slug":8078,"title":8079,"dynasty":54,"author":2636,"museum":167,"description":8080,"tags":8081,"thumbUrl":8082,"material":316,"size":179,"collection":124,"collections":8083,"showCount":8037,"zanCount":48,"manualWeight":48,"mainColor":128},221968,"fang-li-cheng-xi-shan-shen-xue-zhou-wen-zheng-ming-221968","仿李成溪山深雪轴","绘山石耸立，悬崖绝壁，白雪霭霭，山涧中一股瀑布倾泻而下，在山脚下汇入河流，河岸边树木修长，树叶凋零，一桥横跨两岸。题识：正德十年乙亥仿李营丘溪山深雪图 徵明。",[23,24,25,202,114,118,60,30,818,117,7,204,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12e302f69f4a2f9424953933b64b61c.jpg",[124,45],{"id":8085,"slug":8086,"title":8087,"dynasty":133,"author":355,"museum":167,"description":8088,"tags":8089,"thumbUrl":8090,"material":8091,"size":8092,"collection":124,"collections":8093,"showCount":8037,"zanCount":48,"manualWeight":48,"mainColor":128},220811,"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[23,24,25,202,114,118,30,116,7,117,64,35,204,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 62.3公分",[124,103],{"id":8095,"slug":8096,"title":8097,"dynasty":18,"author":434,"museum":111,"description":8098,"tags":8099,"thumbUrl":8100,"material":78,"size":8101,"collection":124,"collections":8102,"showCount":8037,"zanCount":48,"manualWeight":48,"mainColor":49},219957,"jiang-tian-chun-se-tu-yi-ming-219957","江天春色图","以半边雄奇崖壁衬出半幅浩渺江天，虚实相生间铺展出清旷春景。淡施青绿晕染崖石积雪，冷润雅致，带着残冬未尽的清寒。山腰间隐着两隅茅舍，藏于松云崖岫之间，更衬林泉幽寂。汀岸老松虬曲，板桥卧于浅渚，悠悠生出林下幽居的雅趣。远景山峦以淡墨轻晕，和烟波江色融成一片空濛，将春日江天的静穆辽远晕染尽致，暗合寄情林泉、澄怀观道的山水雅意。",[152,24,25,2895,28,118,30,116,63,7,117,4848,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9003bc40ef9f1cd9031a6c367ac98e.jpg","26.4*20.5",[124],{"id":8104,"slug":8105,"title":8106,"dynasty":54,"author":8107,"museum":20,"description":8108,"tags":8109,"thumbUrl":8110,"material":303,"size":8111,"collection":331,"collections":8112,"showCount":8037,"zanCount":48,"manualWeight":48,"mainColor":128},219358,"mu-niu-tu-li-lin-219358","牧牛图","李麟","画面串联起数幅牧牛小景：牧童牵绳引牛涉过浅溪，牛儿低首饮水；稚童持竿逗弄，牛儿仰头呼应；更有童子骑牛，随牛缓步林间。笔墨简淡却意趣盎然：牛身以淡墨晕染，憨态可掬；牧童身形虽小，衣纹寥寥几笔便勾勒出天真烂漫之态。背景树木疏朗，坡石浅淡，留白处似含悠然风致。整卷洋溢着田园的闲静与生机，将寻常牧歌化为清雅的笔墨图景，尽显文人画的恬淡意趣。",[23,24,25,26,114,228,120,153,91,61,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ffc8e11b8b0d9721f2d41b9535d6b.jpg","纵34.2横156.2厘米",[331,103],{"id":8114,"slug":8115,"title":8116,"dynasty":18,"author":434,"museum":167,"description":8117,"tags":8118,"thumbUrl":8119,"material":78,"size":8120,"collection":42,"collections":8121,"showCount":8037,"zanCount":48,"manualWeight":48,"mainColor":128},218839,"song-xi-you-qi-tu-yi-ming-218839","松溪游骑图","画面描绘了一座横跨溪流的桥梁，高大的松树从溪流岸边的大窠中升起，露出农场的大门和农场的一角，主人正从春天的郊游中返回。这幅画与刘松年的画风相似，与故宫收藏的《四季山水卷》中的春景相似，可以确定是刘松年南宋画派的作品。",[23,24,152,25,30,28,118,761,64,90,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3922c2209b73b6b6fb69c2e5b68d4b33.jpg","23.1x25.8",[42],{"id":8123,"slug":8124,"title":8125,"dynasty":54,"author":801,"museum":20,"description":8126,"tags":8127,"thumbUrl":8128,"material":303,"size":8129,"collection":124,"collections":8130,"showCount":8037,"zanCount":928,"manualWeight":48,"mainColor":128},218339,"gao-mu-ci-ya-tu-tang-yin-218339","高木慈鸦图","弧形扇面间，清寂之境徐徐铺展。枯树三五成丛，枝干虬曲如篆，焦墨勾勒处尽显苍劲老辣，墨色浓淡交错间藏着岁月痕迹。寒鸦数点，或栖于枝梢理羽，或振翅掠过天际，翅羽轻扬时添几分灵动生气。远山以淡墨晕染，云雾氤氲缭绕，与近树的沉郁形成虚实相映，层次悠远如幻。整幅画以简驭繁，笔墨洗练却意境深幽，文人画的雅致疏旷尽在其中——仿佛风过林间，鸦鸣隐约，方寸扇面竟藏得万千丘壑，引人沉湎于这份静谧与悠远。",[23,2895,24,25,114,118,156,7,2795,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc421b662148e119d639962a695dae4a6.jpg","纵16.5cm，横47.3cm",[124,103],{"id":8132,"slug":8133,"title":8134,"dynasty":133,"author":4160,"museum":167,"description":8135,"tags":8136,"thumbUrl":8137,"material":78,"size":8138,"collection":44,"collections":8139,"showCount":8037,"zanCount":928,"manualWeight":48,"mainColor":985},216961,"yuan-an-wo-xue-tu-sheng-mao-216961","袁安卧雪图","袁安在东汉时期来自汝南，被称为邵公。他是河南省的一名官员，是一个善良而有爱心的官员。画中的人身穿大红衣服，骑着马，是洛阳的一名法官。当他在一场大雪中赶到袁安家时，看到他门前的雪还没有被清理干净。邻居们以为袁某死了，于是他们敲门进去了。他问他为什么不出去，回答说不适合打扰别人，因为大家在雪下都很饿。洛阳县令认为他是个有德行的人，就推荐他作为亲属候选人来做这个职位。本画题名为 盛懋，但画风已被明人从其风格中改编。",[24,25,152,202,30,61,818,7,117,118,114,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae3ebe4b34f0a5a378b181b1a4225e6f.jpg","149x83.8",[44],{"id":8141,"slug":8142,"title":8143,"dynasty":133,"author":1837,"museum":167,"description":8144,"tags":8145,"thumbUrl":8146,"material":122,"size":8147,"collection":44,"collections":8148,"showCount":8037,"zanCount":48,"manualWeight":48,"mainColor":128},215018,"weng-you-tu-zhao-meng-fu-215018","瓮牖图","这幅画描绘了子贡在住所中与元显会面的情景，以桑门为门，以破瓮为窗的陋室，以示君子以德为乐。岩石很粗糙，只画了草图，后来用绿色和蓝色填充，人物穿着柔软，笔触遒劲，具有唐代的古风。",[23,24,25,26,28,30,61,119,120,153,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1134b50520c2f4c147bc42dc3de893cc.jpg","27.1x619.4",[44],{"id":8150,"slug":8151,"title":3901,"dynasty":223,"author":8152,"museum":111,"description":8153,"tags":8154,"thumbUrl":8155,"material":303,"size":8156,"collection":124,"collections":8157,"showCount":8037,"zanCount":48,"manualWeight":48,"mainColor":128},214718,"shan-shui-ce-gao-xiang-214718","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[152,24,25,385,114,118,30,7,117,37,500,674,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a88cf22fa589ab4ab3aa7596243f9d.jpg","纵23.9 厘米，横55.4 厘米",[124],{"id":8159,"slug":8160,"title":6479,"dynasty":18,"author":198,"museum":459,"description":8161,"tags":8162,"thumbUrl":8163,"material":179,"size":179,"collection":179,"collections":8164,"showCount":8165,"zanCount":48,"manualWeight":48,"mainColor":49},227494,"shan-shui-tu-zhou-fan-kuan-227494","北宋晚期的《宣和画谱》收录有范宽画作58件，书画家米芾也在其《画史》中记载称见过真迹30件。\n\n目前其流传的作品仅有台北国立故宫博物院收藏的〈谿山行旅图〉为现今艺术史学家所公认。",[23,152,24,25,202,114,28,118,30,115,117,7,1289,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15199fa3c2e2bfaa83fb5e9e78f5236f.jpg",[],69,{"id":8167,"slug":8168,"title":8169,"dynasty":3235,"author":8170,"museum":459,"description":8171,"tags":8172,"thumbUrl":8174,"material":808,"size":809,"collection":3244,"collections":8175,"showCount":8165,"zanCount":928,"manualWeight":48,"mainColor":985},225660,"rembrandt-harmensz-van-rijn-070-lun-bo-lang-225660","Rembrandt Harmensz.van Rijn - 070","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[3239,4311,8173,7527,61,90,32,7,8068,411,69,5404,1290],"明暗对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae5e59524e7feb1d6ef620dba60f43f.jpg",[3244],{"id":8177,"slug":8178,"title":8179,"dynasty":223,"author":381,"museum":459,"description":8180,"tags":8181,"thumbUrl":8182,"material":179,"size":179,"collection":179,"collections":8183,"showCount":8165,"zanCount":48,"manualWeight":48,"mainColor":49},224496,"gu-mu-chui-yin-shi-tao-224496","古木垂荫","《古木垂阴图》是清朝的文物， 纵175,横5.7cm。\n古木垂阴图 古木垂阴图 清（1644-1911） 纸本 水墨 纵175,横5.7cm 设色绘近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。\n用笔皴法多变，赋色雅淡。\n右上角有作者长题，石涛（公元164~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。\n善画山水，为清初四画僧之一。",[23,152,24,25,202,114,118,30,1768,117,32,1313,7,578,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d675bfa825848fc195c23b6950913d6.jpg",[],{"id":8185,"slug":8186,"title":8187,"dynasty":18,"author":434,"museum":459,"description":2555,"tags":8188,"thumbUrl":8189,"material":2558,"size":2559,"collection":42,"collections":8190,"showCount":8165,"zanCount":48,"manualWeight":48,"mainColor":49},223548,"luo-shen-tu-juan-yi-ming-223548","洛神图卷",[23,24,25,26,28,29,120,153,61,30,7,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d7b447c13366eb01191db07eb8dd9d.jpg",[42,44,45],{"id":8192,"slug":8193,"title":8194,"dynasty":133,"author":355,"museum":658,"description":8195,"tags":8196,"thumbUrl":8197,"material":122,"size":8198,"collection":124,"collections":8199,"showCount":8165,"zanCount":48,"manualWeight":48,"mainColor":128},219971,"tai-bai-shan-tu-wang-meng-219971","太白山图","图绘浙江鄞县太白山天童寺及其周围景物，尤其着重描绘天童寺前二十里夹径松林。画面中远岫层峦，溪流潺潺，人物往还其间，用笔松润，赋色淡雅。画心右上角有小字篆书“太白山图”四字，画尾钤“王蒙印”，近人研究认为此卷为王蒙晚年代表作。",[23,152,24,25,26,30,28,118,62,7,117,37,119,153,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223493b23f8c837f2f01362ffb2077f.jpg","28x238.2cm",[124,45],{"id":8201,"slug":8202,"title":8203,"dynasty":223,"author":434,"museum":56,"description":8204,"tags":8205,"thumbUrl":8207,"material":555,"size":179,"collection":124,"collections":8208,"showCount":8165,"zanCount":928,"manualWeight":48,"mainColor":128},219864,"qing-ren-fang-xi-shan-wu-jin-tu-yi-ming-219864","清人仿溪山无尽图","整卷铺展千里丘壑，峰岭层叠攒簇，苔点皴擦尽显山石苍浑质感，烟岚轻笼幽谷溪川，晕染出空濛悠远的意境。村居田庐散缀林麓水湄，野桥横溪、茂林修竹，尽显山居幽寂之致，复刻全景山水的雄浑大气，又糅入文人画的静穆意趣。沉厚绢色晕开烟峦，笔墨带着追摹古贤的沉静韵味，将林泉高隐的诗意融于层叠山水间，让观览者随着溪山延展，步入烟霞丘壑，沉浸在清寂旷远的山水雅趣中。",[23,24,26,30,28,118,243,7,37,32,138,8206],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1062bdcf0ab3c5882ef217057ef7f7.jpg",[124],{"id":8210,"slug":8211,"title":8212,"dynasty":133,"author":8213,"museum":423,"description":8214,"tags":8215,"thumbUrl":8216,"material":303,"size":8217,"collection":124,"collections":8218,"showCount":8165,"zanCount":928,"manualWeight":48,"mainColor":128},217264,"dan-tai-chun-xiao-tu-lu-guang-217264","丹台春晓图","陆广","陆广是元朝时期的一位著名的画家，他的作品《丹台春晓图》是他最著名的一幅画。这幅画描绘了丹台山的景色，山上有云雾缭绕，树木葱茏，小溪流动，鸟儿在枝头鸣叫。这幅画的色彩鲜艳，线条流畅，构图巧妙，深受人们喜爱。\n\n陆广在这幅画中运用了自然写生的技巧，使画面栩栩如生，栩栩如生。他还运用了虚实对比的手法，使画面更加丰富多彩。此外，他还运用了一些中国传统的画法，如重彩和写意画法，使这幅画更加独特。\n\n陆广的《丹台春晓图》不仅是他最著名的作品，也是元朝时期著名的艺术杰作之一。它不仅体现了陆广的才华，也反映了元朝时期艺术的发展。现在，这幅画被广泛收藏和展览，并且被认为是中国传统艺术的杰出代表作之一。",[24,25,202,114,118,30,117,7,63,64,69,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6a463b9955bf3520ee003ff8feb0ec.jpg","61.6x26cm",[124],{"id":8220,"slug":8221,"title":8222,"dynasty":223,"author":434,"museum":459,"description":8223,"tags":8224,"thumbUrl":8225,"material":78,"size":179,"collection":179,"collections":8226,"showCount":8165,"zanCount":48,"manualWeight":48,"mainColor":49},216721,"hong-lou-meng-fu-tu-ce-4-yi-ming-216721","红楼梦赋图册-4","雕栏玉砌间，仕女倩影错落。粉墙黛瓦映着疏林碧水，镂空花窗透进软风，携阶前牡丹暗香漫入廊下。有人凭栏凝思，有人低语浅笑，衣袂翩跹似流云拂过青石。笔墨细腻处，衣纹褶皱如流水轻漾，花木枝叶含露带烟。庭院深深里，旧梦依稀，钗环叮当仿佛在耳，裙裾扫过的痕迹仍留着温婉。每一处勾勒皆藏雅致，将红楼的清愁与温柔凝于方寸，让观者沉醉在这古典诗意中，不忍移目。",[23,24,28,29,61,170,62,567,7,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff381526f1252d41cd5878fb4b31a31b5.jpg",[],{"id":8228,"slug":8229,"title":8230,"dynasty":18,"author":1701,"museum":167,"description":8231,"tags":8232,"thumbUrl":8234,"material":122,"size":8235,"collection":124,"collections":8236,"showCount":8165,"zanCount":928,"manualWeight":48,"mainColor":128},216081,"sui-gu-xian-chou-tu-yan-su-216081","邃谷仙俦图","圆幅之内，邃谷幽深如藏太古。松枝盘虬探向涧水，垂瀑溅起的碎玉似携泠泠清响；山石皴染得苍劲见骨，云气轻笼远岫，把虚实边界晕成了仙意。林下幽处，或有对坐的身影，或有倚石的闲态，不沾尘俗的自在漫在空气里。笔墨精细却不刻板，宋画的沉静韵致裹着仙气——没有喧闹，只有丘壑间的清旷，风过松梢时，仿佛能听见仙俦的谈笑声随谷风散开，勾着人想踏入这片无拘天地，把心神安放在这太古般的宁静里。",[23,24,114,28,118,30,7,244,61,8233],"深谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ca0b247e5fd62845b263e8d81f1433.jpg","23.9x24.4cm",[124],{"id":8238,"slug":8239,"title":8240,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":8241,"thumbUrl":8244,"material":808,"size":809,"collection":3244,"collections":8245,"showCount":8246,"zanCount":48,"manualWeight":48,"mainColor":49},225899,"arm-of-the-seine-near-giverny-02-1897-mo-nai-225899","Arm 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1430—1516）意大利威尼斯画派画家。代表作品有《在花园里苦恼》，《小树与圣母像》，《诸神之宴》等。",[3239,923,4311,28,61,244,7,69,91,5404,1546,624,411,500,501,3566,8253,2796,8387],"城堡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cc60d2e59375840eec3fddb295d915.jpg",[3244],{"id":8391,"slug":8392,"title":8393,"dynasty":223,"author":2792,"museum":56,"description":8394,"tags":8395,"thumbUrl":8397,"material":122,"size":8398,"collection":124,"collections":8399,"showCount":8353,"zanCount":48,"manualWeight":48,"mainColor":128},219901,"tai-hang-shan-se-tu-wang-hui-219901","太行山色图","此为王翚仿关仝笔意作太行山图,其于画幅中央作突兀怪石、山泉溪谷,以细密雨点皴作出,颇有范宽枪笔俱均之势",[23,24,25,26,30,28,118,243,37,7,386,32,117,676,8396,2451],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cb4b3c91f64f54888179c45394bbda.jpg","25.3x209.4",[124],{"id":8401,"slug":8402,"title":599,"dynasty":54,"author":4230,"museum":167,"description":8403,"tags":8404,"thumbUrl":8405,"material":555,"size":8406,"collection":124,"collections":8407,"showCount":8353,"zanCount":48,"manualWeight":48,"mainColor":49},219837,"shan-shui-tu-dai-jin-219837","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[24,25,152,118,114,28,30,63,64,115,116,7,204,61,117,202,206,243,501,73,1705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 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，横27.2cm",[],{"id":8464,"slug":8465,"title":8466,"dynasty":223,"author":3550,"museum":20,"description":8467,"tags":8468,"thumbUrl":8470,"material":1218,"size":8471,"collection":179,"collections":8472,"showCount":8453,"zanCount":48,"manualWeight":48,"mainColor":128},233808,"ceng-yan-die-he-tu-zhou-kun-can-233808","层岩叠壑图轴","此图山峦重叠，结构饱满，一条山路顺山势自下而上蜿蜒曲折，使景物繁复而不迫塞，布局巧妙，具有“奥境奇辟，缅邈幽深，引人入胜”的意境。以干笔皴擦山石，浓墨点苔，气韵浑厚。用笔苍浑、老辣，用墨层次丰富，展现了石谿极具个性的绘画风格，是代表石谿成熟画风的杰作。",[24,25,202,30,114,118,28,2418,8469,204,63,64,500,726,7,117,62,1044,116],"叠壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741b209c7c58099e2e9ad6724a3f19a9.jpg","纵169厘米，横41.5厘米",[],{"id":8474,"slug":8475,"title":8476,"dynasty":54,"author":55,"museum":459,"description":8477,"tags":8478,"thumbUrl":8479,"material":179,"size":179,"collection":179,"collections":8480,"showCount":8453,"zanCount":928,"manualWeight":48,"mainColor":49},228430,"jiang-shan-zao-chun-tu-juan-chou-ying-228430","江山早春图卷","此卷以青绿敷色晕染山峦，石青浅绛晕出早春烟岚空濛之态，平远构图铺展百里江南。层峦如螺黛迤逦，汀渚蜿蜒如带，茂林村居散缀江畔，渔舟横波独行，将早春清灵秀雅尽数铺陈。\n\n笔墨工致细腻，青绿设色古雅妍丽却无俗艳之感，远山轻描淡写含黛色，近树苍劲已带新翠，茅庐隐于林泉，尽显逸世幽居之趣。画作融院体精工与文人山水淡远意境于一体，暗藏清寂悠然，将山水静穆与早春生机相融，引人身临其境，静赏江南早春的温柔诗意。",[23,24,25,26,29,27,28,118,30,31,7,62,63,64,2796,3778],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08aa96f29fa17783d88d6937cda876e.jpg",[],{"id":8482,"slug":8483,"title":8484,"dynasty":133,"author":4160,"museum":56,"description":8485,"tags":8486,"thumbUrl":8487,"material":1410,"size":8488,"collection":124,"collections":8489,"showCount":8453,"zanCount":48,"manualWeight":48,"mainColor":49},221757,"jiang-xiang-yu-yin-sheng-mao-221757","江乡渔隐","画中群山连绵，一片苍茫。近处山水相连，绿树仓翠，岸边草房几间，人影绰绰。盛懋，字子昭，元代画家，善画人物、山水、花鸟等，其画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[23,24,152,26,114,118,30,63,64,115,7,69,639,156,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1aeb0c302856d82e072cfb3e1d3015.jpg","30.8x475.3cm",[124,103],{"id":8491,"slug":8492,"title":8493,"dynasty":133,"author":636,"museum":167,"description":8494,"tags":8495,"thumbUrl":8496,"material":316,"size":8497,"collection":124,"collections":8498,"showCount":8453,"zanCount":48,"manualWeight":48,"mainColor":128},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[23,24,25,26,114,30,118,120,438,153,62,63,64,116,488,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 37.8x112公分",[124,103],{"id":8500,"slug":8501,"title":8502,"dynasty":54,"author":955,"museum":423,"description":8503,"tags":8504,"thumbUrl":8507,"material":122,"size":8508,"collection":124,"collections":8509,"showCount":8453,"zanCount":48,"manualWeight":48,"mainColor":49},220069,"gang-lan-song-shan-tu-dong-qi-chang-220069","冈岚松杉图","此图写茂林烟树，平坡浅屿之间，有村舍水榭隐现于崖边江尾。村后危峰矗起，高耸入云。山谷中飞泉奔突，大江远处，烟云弥漫，青山如黛，若在有无之间。画用巨然长披麻湿笔晕染。林际崖上，一片郁葱，仿佛被宿雨洗净，朝霞染过。崇祯元年戊辰，董其昌闲居江南，悠游湖山，耽于书画，正是艺术大成之时。此图画得轻松恬静，浑沦一体，右上所题自作诗，亦写出他功成名就乐于安闲自适的心态。读之令人入静。",[23,24,114,118,202,912,30,761,8505,63,64,244,7,8506,1705],"杉","山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920bbb078aefd69fbac671fd7cb3446f.jpg","122×57",[124],{"id":8511,"slug":8512,"title":8513,"dynasty":223,"author":224,"museum":382,"description":8514,"tags":8515,"thumbUrl":8516,"material":303,"size":8517,"collection":124,"collections":8518,"showCount":8453,"zanCount":928,"manualWeight":48,"mainColor":49},219762,"jiu-long-tan-jia-chao-tu-huang-shen-219762","九龙滩驾潮图","一位纤夫露出正脸，虽然他的眉眼五官刻画十分简单，却依然可以感受到他使出浑身力气，坚定不移的神情和姿态，似乎在这险滩之上，能清楚听到他一边喊着船工号子，一边吆喝着同行的伙计，凭借多年经验征服这险境，自信满满。\n都说眼睛是心灵的窗口，古人写意传神，正是这眼眸眉目最为关键画龙点睛的道理妇孺皆知，古画中每个人物的一个眼神，一颦一笑，都饱含着他们最为真实的情愫",[23,24,114,118,30,115,64,7,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad659f0445c5015ff40352ba6ebce03a.jpg","纵90横119.8",[124],{"id":8520,"slug":8521,"title":8522,"dynasty":133,"author":6534,"museum":167,"description":8523,"tags":8524,"thumbUrl":8526,"material":114,"size":179,"collection":124,"collections":8527,"showCount":8453,"zanCount":928,"manualWeight":48,"mainColor":128},219004,"xi-shan-yan-yu-tu-gao-ke-gong-219004","溪山烟雨图","烟岚轻笼层岫，云气漫洇溪谷，远山如黛隐现于濛濛雾色，近树似簇点染于湿润墨痕。淡墨晕染出空濛之境，浓墨点苔显苍劲之姿，米家云山的氤氲与董巨山水的浑厚相融，笔意松秀却不失沉雄。山水间无喧嚣，唯有烟霭流动的静谧，仿佛能闻涧水潺潺，听松风低语，尽显元人寄情林泉的隐逸之思。墨色的浓淡干湿交织出自然生机，虚实之间见真意，将烟雨溪山的空灵悠远凝于尺幅，耐人细细品咂。",[23,24,25,114,118,30,7,37,6897,64,117,38,8525],"朦胧意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e73635975b8a8581b616cd3fd5575.jpg",[124],{"id":8529,"slug":8530,"title":1166,"dynasty":54,"author":434,"museum":266,"description":8531,"tags":8532,"thumbUrl":8533,"material":78,"size":179,"collection":44,"collections":8534,"showCount":8453,"zanCount":928,"manualWeight":48,"mainColor":985},218478,"sui-chao-tu-yi-ming-218478","庭院深深，松枝覆瓦，梅蕊缀枝，晕开岁朝的暖意。廊下阶前，人影错落：或凭栏低语，衣袂轻扬；或庭中嬉戏，笑靥隐现；或执伞徐行，步履从容。朱檐黛瓦间，花木扶疏，将新年的热闹藏进每一处细节。人物衣饰虽简，却见情态生动，或立或坐，或俯或仰，皆透着阖家团聚的温馨。\n\n整幅画以细腻笔触勾勒宅院格局，用含蓄色彩晕染节庆氛围，不见喧嚣却满是祥和，似能闻得笑语穿林，触到岁时流转的温柔。明代画风的写实与意趣在此交融，将寻常人家的新年光景，凝作一纸隽永的吉祥图卷。",[24,28,29,59,61,62,70,7,591,202,170,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7171fb6577a794a15f1f49797f21e776.jpg",[44],{"id":8536,"slug":8537,"title":8538,"dynasty":54,"author":110,"museum":459,"description":2373,"tags":8539,"thumbUrl":8541,"material":808,"size":809,"collection":179,"collections":8542,"showCount":8543,"zanCount":48,"manualWeight":48,"mainColor":128},289752,"jing-kou-song-bie-tu-juan-shen-zhou-289752","京口送别图卷",[152,24,26,475,114,118,64,115,62,7,117,8540,153],"送别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea161e0d4c00caea203450d2b1512ba6.jpg",[],65,{"id":8545,"slug":8546,"title":8547,"dynasty":18,"author":312,"museum":459,"description":8548,"tags":8549,"thumbUrl":8550,"material":808,"size":809,"collection":179,"collections":8551,"showCount":8543,"zanCount":48,"manualWeight":48,"mainColor":128},288428,"xi-shan-qing-yuan-quan-juan-xia-gui-288428","溪山清远全卷","描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地。",[23,24,26,114,475,118,30,117,7,676,64,63,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2e7ac0afedc23fcf6291490a68ee6a.jpg",[],{"id":8553,"slug":8554,"title":6800,"dynasty":223,"author":2792,"museum":459,"description":6801,"tags":8555,"thumbUrl":8556,"material":179,"size":179,"collection":124,"collections":8557,"showCount":8543,"zanCount":48,"manualWeight":48,"mainColor":128},237581,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237581",[24,25,152,114,958,118,30,243,206,115,7,63,4191,244,37,345,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d7aa76d129529fa40fc7aa1a4898dc.jpg",[124,103],{"id":8559,"slug":8560,"title":8561,"dynasty":18,"author":434,"museum":56,"description":8562,"tags":8563,"thumbUrl":8564,"material":140,"size":8565,"collection":179,"collections":8566,"showCount":8543,"zanCount":928,"manualWeight":48,"mainColor":985},223493,"ming-huang-xing-shu-tu-zhou-yi-ming-223493","明皇幸蜀图轴","此画绘安史之乱之后，唐玄宗李隆基离开长安逃往巴蜀避难的故事。一群人仓促慌乱而逃，此时杨贵妃已经被唐玄宗赐死于马嵬坡，而画面中无人骑行的白马，应该就是杨贵妃死前的坐骑。",[23,24,28,30,61,202,118,90,117,7,426,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a9c78e8345ce04c7530887632de2f2.jpg","33x45",[],{"id":8568,"slug":8569,"title":8570,"dynasty":223,"author":325,"museum":167,"description":8571,"tags":8572,"thumbUrl":8574,"material":40,"size":8575,"collection":331,"collections":8576,"showCount":8543,"zanCount":48,"manualWeight":48,"mainColor":128},222722,"shi-jun-quan-tu-zhi-ba-shan-x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趣。高岭危岩朴拙厚重，几株苍松杂木卓立云岫，枝桠舒展，暗涌生机。留白氤氲云气衔接远近山景，虚实相生，衬出林泉幽寂的空濛意境。\n\n右上角鉴藏朱印排布规整，朱红米黄绢底相映，为古雅山水更添金石气韵。全卷师法元人笔意却自出清隽格调，将江南山水的静穆淡远融于尺幅间，尽显文人山水的悠然雅韵。",[24,25,26,28,114,30,118,289,7,243,37,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8cc00462f6de4e96e3d6c62025f165e.jpg",[],64,{"id":8657,"slug":8658,"title":8659,"dynasty":54,"author":8660,"museum":167,"description":8661,"tags":8662,"thumbUrl":8663,"material":28,"size":8664,"collection":124,"collections":8665,"showCount":8655,"zanCount":48,"manualWeight":48,"mainColor":128},222452,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222452","画陆深愿丰堂会仙山图卷","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,25,26,28,118,30,63,62,7,117,500,1313,69,38,243,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe762343913fad16b0e0bdb556a9e5.jpg","27.1x161.2",[124,103],{"id":8667,"slug":8668,"title":8669,"dynasty":54,"author":7795,"museum":658,"description":8670,"tags":8671,"thumbUrl":8672,"material":8673,"size":8674,"collection":103,"collections":8675,"showCount":8655,"zanCount":48,"manualWeight":48,"mainColor":1138},222229,"song-feng-gao-shi-tu-wen-bo-ren-222229","松风高士图","该作品是明代画家文伯仁晚年的力作。该作品画中山峦高峻，危崖峭壁之间，山径曲折，飞瀑直下，注入山前的清溪中。苍松翠柏隔岸呼应，遮掩草堂。高士曳杖而立，神态安闲。作品用笔清秀爽利，墨色淡雅苍润。文伯仁在画中的题跋小楷十分工整，自谓仿赵孟頫，实则仅师其大意。其画更多取法元代王蒙及文徵明风格。\n该画作把近处的坡石先以淡墨勾勒，再以干墨或浓墨点苔，分出坡石的脉络。画家在水口处横抹几笔，既显画面空灵，又让人感觉水波轻漾。夹岸的松、柏先双勾树干，再以劲利的短线写松针，以密圈作柏叶，枝柯交错，如虬龙劲舞。茅屋被丛树掩映，有“结庐在人境，而无车马喧”之感。远处群山取自文氏画法。画家先以细密皴法定基调，再以淡墨勾勒山骨，然后用干笔作解索皴、牛毛皴，看似随意点染，却让山体层次分明、凹凸有致。千岩万壑、崇山峻岭、山径盘旋、涧水曲折，苍莽之气毕现于纸上。由于画家用笔多变，又着意经营，所以画面既浑厚华滋，又开阔旷达，毫无促迫感。画家在松树下的桥头处设主、仆两人，有画龙点睛之功，正如文徵明诗中所云：“万叠高山供道眼，千寻飞瀑净尘心。”寄情山林、不求闻达的高士，让这幅山水画有了更深远的韵味。",[23,24,114,118,202,30,761,2043,63,64,117,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9139afd4faa992b004cff6b1ffd56da6.jpg","设色纸本","98.7cm×27.6cm",[103,45],{"id":8677,"slug":8678,"title":8679,"dynasty":18,"author":1792,"museum":167,"description":8680,"tags":8681,"thumbUrl":8682,"material":140,"size":8683,"collection":42,"collections":8684,"showCount":8655,"zanCount":48,"manualWeight":48,"mainColor":1138},221378,"ying-shan-tu-juan-wang-shen-221378","赢山图卷","《宋王诜赢山图》用勾勒青绿填染画山，古朴清雅，元代钱选小青绿山水即似此画风，卷末山石上有小楷题识，云：“保宁赐第王晋卿赢山既觉，因图梦中所见，甲辰春正月梦游者。",[23,24,25,26,30,28,118,243,7,35,32,115,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60b9eb105d6a170d78f0e0696507e39.jpg","纵24.5厘米、横145.1厘米",[42,44,45],{"id":8686,"slug":8687,"title":8688,"dynasty":223,"author":2792,"museum":167,"description":8689,"tags":8690,"thumbUrl":8691,"material":122,"size":8692,"collection":124,"collections":8693,"showCount":8655,"zanCount":48,"manualWeight":48,"mainColor":128},220382,"qing-wang-hui-fang-zhao-meng-fu-chun-shan-fei-pu-wang-hui-220382","清王翚仿赵孟俯春山飞瀑","细皴粗染入神知。春水初生落涧迟。书识重光诗正叔。天瓶小册合评时。辛亥（西元一七九一年）新正用恽寿平韵。御题。",[24,25,28,27,29,118,60,30,5213,540,117,501,7,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3734e913cfe0bffb73c6f8b6b761edf6.jpg","89.5x37.7",[124,45],{"id":8695,"slug":8696,"title":8697,"dynasty":54,"author":110,"museum":1202,"description":5869,"tags":8698,"thumbUrl":8699,"material":122,"size":5873,"collection":179,"collections":8700,"showCount":8655,"zanCount":48,"manualWeight":48,"mainColor":128},220015,"dong-zhuang-tu-ce-zhi-quan-zhen-guan-shen-zhou-220015","东庄图册之全真馆",[24,152,25,385,114,118,30,63,64,115,7,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa56a8e013ec5b636a42d259b11e4c21.jpg",[],{"id":8702,"slug":8703,"title":2945,"dynasty":133,"author":8704,"museum":5034,"description":8705,"tags":8706,"thumbUrl":8707,"material":78,"size":179,"collection":124,"collections":8708,"showCount":8655,"zanCount":928,"manualWeight":48,"mainColor":985},218251,"xue-jing-shan-shui-tu-sun-jun-ze-218251","孙君泽","寒枝疏瘦，柳条如丝绦般摇曳于雪色间。远山覆雪，皴笔淡染出苍茫寒意；近景暖阁内人影依稀，似有围炉清谈之趣。画面融南宋院体的精工与元人山水的空灵，留白处见雪意，线条间藏生机。萧寒天地中，暖阁的烟火气与远山的静谧相映成趣，于素净笔墨间，寻得一份静谧温情，尽显冬日山水的清旷之美。",[24,475,202,114,28,118,818,30,116,528,117,61,5454,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b3736813819c79171866fb270f653e.jpg",[124],{"id":8710,"slug":8711,"title":8712,"dynasty":18,"author":575,"museum":423,"description":1247,"tags":8713,"thumbUrl":8714,"material":78,"size":1250,"collection":179,"collections":8715,"showCount":8655,"zanCount":48,"manualWeight":48,"mainColor":128},218064,"song-di-ming-ti-ce-si-ma-yuan-218064","宋帝命题册(四)",[23,24,25,385,28,475,341,62,7,37,500,69,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ea61e29236947548d533291b9864bb.jpg",[],{"id":8717,"slug":8718,"title":8719,"dynasty":223,"author":3836,"museum":266,"description":3837,"tags":8720,"thumbUrl":8721,"material":360,"size":3840,"collection":179,"collections":8722,"showCount":8655,"zanCount":48,"manualWeight":48,"mainColor":49},214347,"san-jue-shan-shui-ce-13-hua-yan-214347","三绝山水册-13",[23,24,25,114,118,385,30,289,7,37,540,1665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf04188718fcb81c7be51f07fefa49c1.jpg",[],{"id":8724,"slug":8725,"title":8726,"dynasty":223,"author":8727,"museum":20,"description":8728,"tags":8729,"thumbUrl":8730,"material":179,"size":179,"collection":124,"collections":8731,"showCount":182,"zanCount":48,"manualWeight":48,"mainColor":128},239443,"fu-chun-shan-ju-tu-juan-huang-jun-239443","富春山居图卷","黄均","黄均（1775－1850），字上琓，号榖原、榖源、香畴、墨华居士、墨华庵主，元和（今苏州）人。据嘉道间大臣梁章钜(1775 - 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[23,24,26,28,118,30,117,7,32,204,676,66,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164d44c5894dd5dcbd4a28934931eb84.jpg",[124,45],{"id":8733,"slug":8734,"title":5675,"dynasty":223,"author":434,"museum":459,"description":8735,"tags":8736,"thumbUrl":8737,"material":179,"size":179,"collection":44,"collections":8738,"showCount":182,"zanCount":928,"manualWeight":48,"mainColor":128},235155,"hong-ren-shan-shui-ce-yi-ming-235155","此作为书画合璧，题字行书清隽疏朗，诗文自带幽寂襟怀，与下幅山水浑然相融。\n\n画面以淡墨皴擦写秋山，山石造型方硬简劲，不作繁复修饰，尽显冷峻清瘦之态。几株疏木错落林间，枝叶简淡萧疏，衬出空山寥落之境。林下二人对坐晤谈，于幽寂山境中添上几分文人情致，不见烟火气，只余林泉高致。整幅笔墨极简，却将静穆淡远的出世意趣尽数铺陈，淡而不枯、简而不空，尽显文人山水画以简驭繁的悠远意境，藏着寄心林泉的幽然雅怀。",[24,25,385,114,118,30,7,117,61,1665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5652b925f461d694a5eb18ea56028f.jpg",[44,1822],{"id":8740,"slug":8741,"title":8742,"dynasty":223,"author":381,"museum":459,"description":8743,"tags":8744,"thumbUrl":8745,"material":179,"size":179,"collection":179,"collections":8746,"showCount":182,"zanCount":928,"manualWeight":48,"mainColor":49},229000,"jiao-ye-mo-se-tu-ce-12-kai-shi-tao-229000","郊野墨色图册12开","《石涛花卉》是219年中国书店出版的图书，作者是孙棋。\n石涛是一位多才多艺的艺术家，善画山水，兼工墨竹、花卉、人物。\n他吸收传统文化的精髓，但不受传统精神束缚，反对墨守成规，敢于打破陈法，主张对绘画技法进行变革和创新，是中国绘画史上出类拔萃、屈指可数的人物之一。\n石涛精于花卉蔬果，尤其是传统的“四君子”题材的绘画。\n他在继承传统的基础上进行创新，花卉潇洒隽朗、天真烂漫、清气袭人，人物生拙古朴、别具一格。\n可以说，石涛开清代花鸟画之先河，在中国花鸟画史上有着不可替代的地位。\n着色花卉图册八帧 岷江春色图 花卉图册十二帧 细笔花卉图册十帧 山水花卉图册八帧 郊野墨色图册十二帧 苦瓜和尚书画册十二帧 人物花鸟图册八帧 陶渊明诗意图册十二帧 写枝山诗意图册十帧",[24,114,28,118,385,30,341,342,7,35,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a1d8a7dff20448467a31c175199486.jpg",[],{"id":8748,"slug":8749,"title":8750,"dynasty":18,"author":827,"museum":459,"description":8751,"tags":8752,"thumbUrl":8753,"material":179,"size":179,"collection":179,"collections":8754,"showCount":182,"zanCount":48,"manualWeight":48,"mainColor":985},226544,"gui-zhao-tu-zhou-jing-hao-226544","归棹图轴","五代十国时，虽然国家四分五裂战乱连年，南唐都城所在地却相对平稳，于是有了书画艺术的一个发展高峰期。特别是中国山水画发展的重要时期，一些画家在唐代以青绿或水墨青绿在屏障上挥写大山大水或松石林木的基础上，深入大自然中进行创作。五代时中国水墨山水画趋于成熟，以以荆浩、关仝为代表的北方画家和以董源、巨然为代表的南方画家创立了真实生动的雄伟北方峻岭和秀丽江南山川两大山水画体系，世称“荆、关、董、巨”。这里介绍荆浩绘画作品。",[23,152,24,25,202,114,118,30,115,64,116,156,7,61,500,661,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99961b5d997a891ba19d41dce3890d15.jpg",[],{"id":8756,"slug":8757,"title":8758,"dynasty":223,"author":8759,"museum":167,"description":8760,"tags":8761,"thumbUrl":8762,"material":360,"size":8763,"collection":44,"collections":8764,"showCount":182,"zanCount":48,"manualWeight":48,"mainColor":128},223326,"mo-gu-kai-zhi-luo-shen-tu-juan-ding-guan-peng-223326","摹顾恺之洛神图卷","丁观鹏","《清丁观鹏摹顾恺之洛神图》虽是摹本，然山水造型已自朴拙稚趣的古典画洋，转为成熟的金碧山水，且景物间的比例关系已趋精确；援以西洋明暗设色法与定点透视法，表现脸部五官、马匹体态与空间层次，营造合乎视觉经验的画面。丁观鹏在当时受到西洋绘画的影响，本卷中采取光影与透视法即是。",[23,24,25,26,28,29,61,90,7,117,60,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea4b7ef2e14f9b4457400360dcabf0de.jpg","28.1x587.5",[44,45],{"id":8766,"slug":8767,"title":8768,"dynasty":223,"author":325,"museum":167,"description":3966,"tags":8769,"thumbUrl":8770,"material":415,"size":3970,"collection":124,"collections":8771,"showCount":182,"zanCount":48,"manualWeight":48,"mainColor":1138},222761,"shi-er-yue-ling-tu-2-yue-lang-shi-ning-222761","十二月令图（2月）",[23,152,24,29,28,59,30,62,61,70,117,7,4124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bcf35cca2199d5fa9312b5a8a3e68.jpg",[124,45],{"id":8773,"slug":8774,"title":8775,"dynasty":54,"author":8776,"museum":167,"description":8777,"tags":8778,"thumbUrl":8779,"material":316,"size":179,"collection":124,"collections":8780,"showCount":182,"zanCount":11,"manualWeight":48,"mainColor":49},222430,"dong-li-qiu-se-tu-li-xiang-222430","东篱秋色图","李相","画取材东晋诗人陶渊明归隐田园的故事。画面中，陶渊明悠闲地坐在室外床榻上观赏菊花，童仆和家人陪伴伺候，屋外有访客造访，山径间还可见到牧童与牛群，整幅画流露出高士隐逸生活的一种典型。 ​​​​",[23,152,24,25,30,114,118,117,7,676,64,204,35,500,3755,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb340c3bf793e605358c2953c86e93e35.jpg",[124,103],{"id":8782,"slug":8783,"title":8784,"dynasty":54,"author":55,"museum":20,"description":733,"tags":8785,"thumbUrl":8787,"material":40,"size":738,"collection":179,"collections":8788,"showCount":182,"zanCount":48,"manualWeight":48,"mainColor":128},222188,"ren-wu-gu-shi-tu-zi-lu-wen-jin-chou-ying-222188","人物故事图-子路问津",[23,24,385,5356,28,61,30,7,117,4848,8068,8786,6209,274],"子路问津","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3113aa636a1969d1889567021aaf7551.jpg",[],{"id":8790,"slug":8791,"title":1178,"dynasty":54,"author":4230,"museum":167,"description":8792,"tags":8793,"thumbUrl":8794,"material":316,"size":8795,"collection":124,"collections":8796,"showCount":182,"zanCount":48,"manualWeight":48,"mainColor":49},222029,"shan-shui-zhou-dai-jin-222029","此画从构图看全幅构图取近景形式，自下而上，呈上、中、下三段层次。上端即远山迷漾，峰峦环抱，群山侧于画面的左上角，山上和山腰杂木丛生。山下即中景为宽阔水面，汪洋一片，把远景与近景遥遥相隔，河水中无渔舟停泊，亦无水阁临溪，显得十分幽静。近景为此画的主体部分。坡石连绵，坡石高矮不一，其问有几株盘根虬曲的树木，树下山上有数间楼阁，楼阁围有 栏杆，一位长者端坐在楼阁内，正在观赏美丽的山水景致。\n款署，“景泰壬申春三月钱塘戴文进写。”",[23,24,202,30,28,118,116,64,115,61,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4043ef01c707ccd4702333f8460033.jpg","纵139．0厘米，横79．8厘米",[124,103],{"id":8798,"slug":8799,"title":8800,"dynasty":18,"author":8801,"museum":299,"description":8802,"tags":8803,"thumbUrl":8804,"material":140,"size":8805,"collection":42,"collections":8806,"showCount":182,"zanCount":48,"manualWeight":48,"mainColor":49},221437,"song-hao-xuan-ming-shi-qin-tu-hu-shun-chen-221437","送郝玄明使秦图","胡舜臣","传世作品有宣和四年(1122)作《送郝玄明使秦图》卷，自题诗款：“丛桂方招隐，君犹赋远游。青枫初试降，白露正宜秋。玉叠浮云暮，秦关王气收。离情付图画，怅我一登楼。宣和四年九月二日，玄明大参有使秦之命，作此纪别。胡舜臣。”卷后有蔡京(1047-1126)书题“送郝玄明使秦一首：送君不折都门柳，送君不设阳关酒。惟取西陵松树枝，与尔相看岁寒友。蔡京。”继后有吴睿、莫昌、袁华、周鼎史、沈周观署，钱樾、吴荣光、伯荣、刘墉、翁方纲题跋等。",[23,24,152,25,26,114,118,30,243,7,540,37,63,64,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7ddf81b15095c5a22ac6defde70da2.jpg","30x111",[42],{"id":8808,"slug":8809,"title":8810,"dynasty":18,"author":239,"museum":167,"description":8811,"tags":8812,"thumbUrl":8814,"material":78,"size":8815,"collection":42,"collections":8816,"showCount":182,"zanCount":48,"manualWeight":48,"mainColor":985},221286,"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[23,24,152,25,202,114,28,118,30,818,7,117,36,66,676,8813],"流水 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567a440bad362794ef3a58bd9280e8cc.jpg","120.4x74.7厘米",[42,124,103],{"id":8818,"slug":8819,"title":8820,"dynasty":1743,"author":3262,"museum":8821,"description":8822,"tags":8823,"thumbUrl":8824,"material":179,"size":179,"collection":179,"collections":8825,"showCount":182,"zanCount":48,"manualWeight":48,"mainColor":128},220490,"fan-zhou-xin-an-jiang-zhang-da-qian-220490","泛舟新安江","Indianapolis Museum of Art at Newfields","以高远危崖呼应平阔水汀，淡赭晕开朝暮霞光，江雾轻笼天地。枯笔勾出崖石筋骨，焦墨点簇顶间林木，苍劲里暗含秀雅疏朗。水色留白晕染浅青，浅滩枯木枝桠清瘦，间缀浅红秋意，冷寂中晕开暖意。\n\n扁舟横斜汀渚，舟上人影简淡，尽显江湖散人的从容闲逸。整幅画笔简意足，将江乡清灵旷远融于淡墨轻色之间，淡而弥永，尽显萧散简远的文人林下风流。",[23,24,28,118,202,30,115,7,117,32,37,35,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30913e83fe79ae7e565b04344eaf69a.jpg",[],{"id":8827,"slug":8828,"title":8829,"dynasty":54,"author":110,"museum":1202,"description":5869,"tags":8830,"thumbUrl":8831,"material":122,"size":5873,"collection":179,"collections":8832,"showCount":182,"zanCount":48,"manualWeight":48,"mainColor":128},220010,"dong-zhuang-tu-ce-zhi-nan-gang-shen-zhou-220010","东庄图册之南港",[23,24,114,385,30,118,7,64,115,3148,1067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bc3277507cd2055dd3e64f96a29d1e.jpg",[],{"id":8834,"slug":8835,"title":8836,"dynasty":54,"author":8837,"museum":167,"description":8838,"tags":8839,"thumbUrl":8840,"material":78,"size":8841,"collection":44,"collections":8842,"showCount":182,"zanCount":48,"manualWeight":48,"mainColor":128},219552,"jiu-lao-tu-huang-biao-219552","九老图","黄彪","此幅是黄彪摹刘松年九老图而成，得形似而人物传神，虽布置树石稍显薄淡，傅色鲜浮之外，不失为一种临摹传世之佳品。",[23,24,25,26,28,29,61,7,63,64,117,761,1067,591,116,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f86b80884e1f7a09cf9f31d6902a1ad.jpg","27.2x193厘米",[44,45],{"id":8844,"slug":8845,"title":8846,"dynasty":223,"author":1998,"museum":20,"description":8847,"tags":8848,"thumbUrl":8849,"material":78,"size":8850,"collection":124,"collections":8851,"showCount":182,"zanCount":928,"manualWeight":48,"mainColor":49},219092,"shan-zhuang-qiu-ren-tu-yuan-yao-219092","山庄秋稔图","此图描绘山庄秋天的景色。村舍环绕于绿色山树中，茅庐内村人闲适，近处一牧童放牛于缓坡之上；远山高耸，突兀奇绝，烟云缭绕。设色青绿，构思精巧，结构准确，层次分明，显现出作者精于刻画的写实功力。",[24,28,59,29,118,30,62,117,7,61,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8916945174cef62eec1b5b888a7cedde.jpg","纵182.5厘米，横96.8厘米",[124],{"id":8853,"slug":8854,"title":8855,"dynasty":54,"author":537,"museum":382,"description":8856,"tags":8857,"thumbUrl":8858,"material":78,"size":8859,"collection":331,"collections":8860,"showCount":182,"zanCount":11,"manualWeight":48,"mainColor":49},219028,"qun-lu-tu-wen-zheng-ming-219028","群鹿图","层峦叠嶂间林木苍郁，群鹿嬉戏于溪畔石边，或卧饮清泉，或昂首远眺，或追逐嬉闹，姿态各异，灵动鲜活。鹿谐音“禄”，群鹿齐聚暗合福禄绵延的祥瑞寓意，藏着文人对顺遂生活的寄望。山石以淡墨皴染，线条清劲中见温润；树木勾勒细致，枝叶繁密却不杂乱；鹿群的轮廓与肌理刻画入微，神态毕肖。整幅画将山水的清幽与走兽的生机相融，尽显吴门画派雅致醇厚的格调，古旧绢色更添岁月沉淀的静谧之美，似在诉说自然与人文交织的诗意篇章。",[23,24,28,29,118,30,3095,1855,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7960bcc17b6b77977da508ad692bfa.jpg","纵186.5横96厘米",[331],{"id":8862,"slug":8863,"title":2495,"dynasty":223,"author":647,"museum":8864,"description":8865,"tags":8866,"thumbUrl":8867,"material":122,"size":179,"collection":124,"collections":8868,"showCount":182,"zanCount":48,"manualWeight":48,"mainColor":128},217987,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217987","京都国立博物馆","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[24,25,202,30,118,28,60,117,7,64,63,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6ccd6d0fbd19162156288da30812a8.jpg",[124],{"id":8870,"slug":8871,"title":8872,"dynasty":133,"author":5646,"museum":111,"description":8873,"tags":8874,"thumbUrl":8875,"material":555,"size":8876,"collection":124,"collections":8877,"showCount":182,"zanCount":928,"manualWeight":48,"mainColor":49},214730,"qing-liang-wan-cui-tu-cao-zhi-bai-214730","清凉晚翠图","曹知白（1272-1355），字又玄，号云西，今上海松江人。与黄公望、倪瓒交往最密，常以书画相酬唱。山水继承李郭画派，风格清疏简淡、秀润飘逸。他对松江地方贡献很大。1294年，朝廷诏令中书左丞开凿吴淞江，曹知白以策从行，功绩居多。1298年，他又提出置阏成堤之法，取得良好效果。后被荐为昆山教谕，不久辞去。卒后葬于松江修竹乡干山之原。",[24,114,30,118,119,153,579,578,115,64,289,500,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba94454b3af5651c31aa4a282fe07e1.jpg","纵21.1厘米，横21.2厘米",[124],{"id":8879,"slug":8880,"title":8881,"dynasty":133,"author":134,"museum":167,"description":8882,"tags":8883,"thumbUrl":8884,"material":808,"size":809,"collection":179,"collections":8885,"showCount":8886,"zanCount":11,"manualWeight":48,"mainColor":49},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[152,24,25,202,114,30,31,7,64,116,289,118,119,153,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0078660b9d4ba83a449e1cffec2f767e.jpg",[],62,{"id":8888,"slug":8889,"title":8890,"dynasty":223,"author":3550,"museum":20,"description":3551,"tags":8891,"thumbUrl":8892,"material":8893,"size":8894,"collection":124,"collections":8895,"showCount":8886,"zanCount":48,"manualWeight":48,"mainColor":128},234264,"wu-wai-tian-yuan-tu-ce-kun-can-234264","物外田园图册",[23,24,114,385,118,119,30,579,289,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8651a5a2e1ca54204c673178db5637fc.jpg","纸本 ，墨笔","纵21.5cm，横16.9cm",[124],{"id":8897,"slug":8898,"title":8899,"dynasty":54,"author":110,"museum":20,"description":8900,"tags":8901,"thumbUrl":8902,"material":506,"size":179,"collection":179,"collections":8903,"showCount":8886,"zanCount":48,"manualWeight":48,"mainColor":128},234159,"shen-zhou-sui-an-tu-juan-shen-zhou-234159","沈周邃庵图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,26,114,28,118,119,120,438,30,117,7,206,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a686a30f4662dd5e69d37ebb1b90d7.jpg",[],{"id":8905,"slug":8906,"title":1690,"dynasty":54,"author":110,"museum":20,"description":1691,"tags":8907,"thumbUrl":8908,"material":360,"size":1694,"collection":179,"collections":8909,"showCount":8886,"zanCount":48,"manualWeight":48,"mainColor":128},234096,"wu-zhong-shan-shui-ce-shen-zhou-234096",[24,25,385,114,120,118,30,63,64,115,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff615aa6731f6aad97ced3ec6ba894313.jpg",[],{"id":8911,"slug":8912,"title":8913,"dynasty":133,"author":355,"museum":167,"description":8914,"tags":8915,"thumbUrl":8916,"material":179,"size":179,"collection":179,"collections":8917,"showCount":8886,"zanCount":48,"manualWeight":48,"mainColor":49},232799,"shan-shui-tu-xi-shan-fang-you-wang-meng-232799","山水图(溪山访友)","此画写深秋山水。凌云而出的高山，清冽的溪水，巨石突兀，长松乔木，点缀着寻幽访友的高士，表现了寄情林泉的雅兴。",[24,25,202,114,118,30,63,64,116,7,117,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3f4507d7ed0adacc32cb42699c50a5.jpg",[],{"id":8919,"slug":8920,"title":8921,"dynasty":18,"author":312,"museum":459,"description":8922,"tags":8923,"thumbUrl":8924,"material":179,"size":179,"collection":179,"collections":8925,"showCount":8886,"zanCount":48,"manualWeight":48,"mainColor":128},228255,"qiu-jiang-yu-le-tu-xia-gui-228255","秋江渔乐图","此作用边角取景，淡墨晕染开层叠远山，留白铺就浩渺秋江，虚实相生间尽显清旷萧疏。孤舟渔翁垂纶独钓，似与烟水山色相融。坡岸林木苍劲虬曲，群雁振翅惊破江天寂静，寥寥数笔便点活秋江灵动意趣。\n水墨淋漓间以简驭繁，将秋江的冷寂清寒，与渔者隐逸的悠然快意揉入尺幅之中，淡远空寂的氛围感扑面而来，尽显空灵简远的意韵，藏着江湖散人的疏旷闲情。",[23,24,25,26,114,118,120,153,30,115,156,639,7,117,64,1362,462,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27660b82a2b352247e4cc452331a1a3.jpg",[],{"id":8927,"slug":8928,"title":471,"dynasty":133,"author":8929,"museum":459,"description":8930,"tags":8931,"thumbUrl":8932,"material":179,"size":179,"collection":179,"collections":8933,"showCount":8886,"zanCount":928,"manualWeight":48,"mainColor":49},228244,"xian-shan-lou-ge-tu-chen-ru-yan-228244","陈汝言","此作为典型的元人青绿山水，承续唐宋青绿遗韵。层叠峰峦以石青、石绿晕染勾勒，色泽古雅厚重，虽经岁月稍褪，仍可见旧时明丽。苍松虬劲错落，扎根于岩岫之间，楼阁屋舍隐现幽谷林泉，几处文人逸士或策杖徐行、或凭栏晤谈，衬出山居空寂幽深。\n\n整幅疏密得宜，将仙山秘境的超脱清灵铺展于绢素，既带着青绿山水的富丽端严，又融入元人山水独有的萧散意趣，把世外山居的恬然仙气尽数勾勒，尽显缥缈出尘的隐逸雅意。",[23,152,24,25,6073,27,28,475,29,118,202,476,62,540,63,64,61,117,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e76427d011700fd2ac0d5e310c74ac.jpg",[],{"id":8935,"slug":8936,"title":8937,"dynasty":8938,"author":434,"museum":459,"description":8939,"tags":8940,"thumbUrl":8942,"material":808,"size":809,"collection":179,"collections":8943,"showCount":8886,"zanCount":48,"manualWeight":48,"mainColor":49},223909,"song-shan-hua-shan-shui-tu-yi-shou-jing-mu-tuo-fu-jian-yi-ming-223909","嵩山画山水图，益寿镜木托附件","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[24,25,28,29,30,62,63,64,7,117,69,8941],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e9abe895df9c138c4dc01d0bc15902.jpg",[],{"id":8945,"slug":8946,"title":8947,"dynasty":54,"author":8650,"museum":514,"description":8948,"tags":8949,"thumbUrl":8950,"material":3867,"size":8951,"collection":124,"collections":8952,"showCount":8886,"zanCount":48,"manualWeight":48,"mainColor":49},222600,"qiu-shan-you-ju-tu-juan-lan-ying-222600","秋山幽居图卷","这幅画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。他的画法有两种，一种作钩勒浅绛法。另一种作没骨法，设色鲜艳突目，所画红树、青山、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水作品。",[23,24,26,114,118,30,2042,1705,7,64,115,156,117,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e087d6380ef6f745979fe23ff227fcc.jpg","26.3x246.5",[124,103],{"id":8954,"slug":8955,"title":8956,"dynasty":133,"author":4150,"museum":167,"description":8957,"tags":8958,"thumbUrl":8960,"material":140,"size":8961,"collection":124,"collections":8962,"showCount":8886,"zanCount":48,"manualWeight":48,"mainColor":49},221853,"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,152,24,25,26,59,437,28,61,62,1124,89,342,7,8959,153],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[124,103],{"id":8964,"slug":8965,"title":8966,"dynasty":133,"author":4150,"museum":56,"description":8967,"tags":8968,"thumbUrl":8969,"material":78,"size":8970,"collection":44,"collections":8971,"showCount":8886,"zanCount":928,"manualWeight":48,"mainColor":49},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,24,25,26,59,29,28,61,62,7,117,64,116,63,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[44,45],{"id":8973,"slug":8974,"title":8975,"dynasty":133,"author":7139,"museum":56,"description":8976,"tags":8977,"thumbUrl":8978,"material":555,"size":8979,"collection":103,"collections":8980,"showCount":8886,"zanCount":928,"manualWeight":48,"mainColor":49},220369,"mo-ji-shi-yi-tu-tang-di-220369","摩诘诗意图","《摩诘诗意图》毫无疑问是唐棣山水画的代表作。画面近景巨树磅礴有力，远景平野延展不绝，树木是典型的蟹爪枝，山石是典型的鬼面石，皴法是典型的卷云皴，真可谓得李郭“真传”。",[23,24,114,30,579,117,118,202,500,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fd21367e223c6a2061d4a44ff001c3.jpg","71x46cm",[103],{"id":8982,"slug":8983,"title":8984,"dynasty":54,"author":8985,"museum":167,"description":8986,"tags":8987,"thumbUrl":8989,"material":78,"size":8990,"collection":45,"collections":8991,"showCount":8886,"zanCount":48,"manualWeight":48,"mainColor":49},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[152,24,25,202,28,29,118,30,62,116,63,64,117,7,8988,70,206,501],"台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[45],{"id":8993,"slug":8994,"title":8995,"dynasty":18,"author":434,"museum":167,"description":8996,"tags":8997,"thumbUrl":8999,"material":78,"size":9000,"collection":42,"collections":9001,"showCount":8886,"zanCount":928,"manualWeight":48,"mainColor":128},218855,"he-ting-ting-yu-tu-yi-ming-218855","荷亭听雨图","这幅画描绘了一个荷花亭，主人躺在沙发上看荷花、听雨声，而一个童仆拿着小提琴在桥头的花下姗姗来迟，抱头鼠窜，而一只受惊的鸟儿则飞上了天空。这幅画与刘松年的风格相似，笔触厚实而坚定，画感引人入胜。",[23,152,24,28,59,29,116,5330,7,62,8998],"雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4871b40e4780da845cf4f472108e38a.jpg","23.2x24.4",[42,44],{"id":9003,"slug":9004,"title":9005,"dynasty":223,"author":3775,"museum":20,"description":9006,"tags":9007,"thumbUrl":9008,"material":303,"size":9009,"collection":124,"collections":9010,"showCount":8886,"zanCount":48,"manualWeight":48,"mainColor":128},218497,"fang-mei-dao-ren-xia-shan-yu-ji-tu-wu-li-218497","仿梅道人夏山雨霁图","画中远处山峦起伏，层层叠叠，由近及远，矾头突兀，山顶冲入云端，似与天际相连，深山溪水，泉涌不息。中景为广阔的湖面和平坦的沙滩，溪水潺潺；近景为岩石坡，树木茂密，树荫下有几座木屋和草亭，或隐或现，山间有蜿蜒的小路，坡的两边有木板路。",[23,24,25,202,114,118,60,30,63,64,7,243,358,206,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3af964d48c19eeba1aedf541e32e4c.jpg","94.5x35cm",[124],{"id":9012,"slug":9013,"title":9014,"dynasty":133,"author":434,"museum":423,"description":9015,"tags":9016,"thumbUrl":9018,"material":78,"size":9019,"collection":331,"collections":9020,"showCount":8886,"zanCount":48,"manualWeight":48,"mainColor":49},216751,"shi-hu-san-biao-tu-yi-ming-216751","十虎三彪图","这是一幅虎画长卷，名曰《十虎三彪图》，宋人佚名作，共画了十只虎，三只彪。\n\n龙生九子，各有不同。虎生三子，必有一彪。\n\n在传统文化里，龙虎都少不了一些衍生同类，彪是虎演化而来的。故事相传，母虎生有三虎崽，其中一虎崽格外凶狠彪悍，有吞食另外两只幼崽的能力，因此母虎日夜提防着凶虎崽和另外两只虎崽单独相处。",[23,24,25,26,114,118,4537,9017,1855,7,117],"彪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22319c2472e4a7063456b1ee2a4fb07f.jpg","27x349cm",[331],{"id":9022,"slug":9023,"title":9024,"dynasty":54,"author":7255,"museum":20,"description":9025,"tags":9026,"thumbUrl":9027,"material":122,"size":9028,"collection":44,"collections":9029,"showCount":8886,"zanCount":48,"manualWeight":48,"mainColor":128},216085,"ming-huang-you-yue-gong-tu-zhou-chen-216085","明皇游月宫图","这是一幅带有作者美好想象的画作。表现的是唐人小说中明皇李隆基曾偕方士梦游月中宫殿的情景。全图笔法工细，继承了南宋笔墨精妙的传统，注重人物个性的展示、人物与环境的配合，以及不同社会阶层人物神态、服饰的刻画，从中可见唐明皇高贵典雅的神态，侍从恭敬谦卑的表情和侍女们端庄优雅的气质等。此图是周臣优秀的人物画之一。",[23,24,152,2895,28,61,2316,7,30,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb23230d53038694868c25d0ae2a93d4.jpg","纵18.6厘米，横50厘米",[44],{"id":9031,"slug":9032,"title":9033,"dynasty":54,"author":955,"museum":167,"description":9034,"tags":9035,"thumbUrl":9036,"material":303,"size":179,"collection":124,"collections":9037,"showCount":8886,"zanCount":928,"manualWeight":48,"mainColor":128},214613,"shu-hua-ce-yu-shan-dong-qi-chang-214613","书画册-虞山","董其昌（1794年－1856年）是中国明清时期的画家、书法家。他出生于浙江省杭州市，是中国书画史上著名的画僧之一。董其昌在书法和画画方面都有很高的造诣，尤其擅长山水画，其中以写意山水画最为出名。他的著名作品有《虞山图》，这幅画描绘了浙江省虞山的秀美景色。\n\n《虞山图》是董其昌的代表作之一，它展现了他对自然风光的独特描绘方式。在这幅画中，董其昌运用了大量的写意手法，使得画面充满了浓郁的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n董其昌的《虞山图》不仅是他自己的杰作，也是中国书画史上的经典之作。它被广泛收藏和展览，并被认为是中国山水画的代表作之一。",[24,25,385,114,118,119,30,31,7,35,244,502,243,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04f9ae98aa539c6d04e4ab22c644a70.jpg",[124],{"id":9039,"slug":9040,"title":9041,"dynasty":54,"author":955,"museum":459,"description":3846,"tags":9042,"thumbUrl":9043,"material":808,"size":809,"collection":179,"collections":9044,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":128},283738,"fang-gu-shan-shui-ce-shi-kai-dong-qi-chang-283738","仿古山水册（十开）",[152,24,385,114,30,117,64,7,1705,153,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9ee79f5dfee7fbf9889135e8f1f2b7.jpg",[],61,{"id":9047,"slug":9048,"title":2722,"dynasty":223,"author":434,"museum":20,"description":2723,"tags":9049,"thumbUrl":9052,"material":40,"size":330,"collection":179,"collections":9053,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":49},236168,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236168",[24,29,28,59,118,30,62,61,1067,117,64,156,70,69,7,2450,9050,6015,173,35,9051],"石桥","竹丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c3e8128a600870ae2951e88c5416b8.jpg",[],{"id":9055,"slug":9056,"title":9057,"dynasty":133,"author":5718,"museum":167,"description":9058,"tags":9059,"thumbUrl":9060,"material":40,"size":9061,"collection":179,"collections":9062,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":128},231423,"yan-jiang-dai-du-tu-qian-xuan-231423","烟江待渡图","此卷绘秋景山水，山峦平坡多用硬拙直笔勾皴，既表现出青绿山水的古雅工丽，又富有文人画的恬静意趣。树丛以细笔皴点，葱郁清丽，构图平远浩渺，颇有绝世出尘之境。画家借助创作此幽寂静谧，充满诗意的山水，并在画上题诗，委婉曲折地表达自己隐遁避世之愿望。",[152,24,25,26,28,27,29,30,153,119,120,438,341,342,115,7,500,4940,61,32,37,1300,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8413a90a26c7bd60b40a95db035e8aca.jpg","纵21.6厘米，横480.6厘米",[],{"id":9064,"slug":9065,"title":9066,"dynasty":223,"author":858,"museum":514,"description":859,"tags":9067,"thumbUrl":9068,"material":140,"size":869,"collection":179,"collections":9069,"showCount":9045,"zanCount":928,"manualWeight":48,"mainColor":49},230108,"hong-lou-meng-189-sun-wen-230108","红楼梦189",[24,29,28,59,61,170,62,7,70,2856,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756da37c1938489cc2f2aab0645c8766.jpg",[],{"id":9071,"slug":9072,"title":9073,"dynasty":133,"author":434,"museum":459,"description":9074,"tags":9075,"thumbUrl":9076,"material":179,"size":179,"collection":179,"collections":9077,"showCount":9045,"zanCount":928,"manualWeight":48,"mainColor":49},228206,"gong-nv-you-yuan-tu-li-zhou-yi-ming-228206","宫女游园图立轴","以青绿晕染出苍润苑囿，层叠亭台随山势铺展，界画工致严整，朱红飞檐掩映在古松奇石间。\n高台上仕女凭栏远眺，廊庑间宫人行止悠然，或低语相伴，或缓步行游，素衣翩跹打破殿宇的厚重沉静。\n设色古雅柔和，山石松枝的沉郁底色，衬得仕女身姿愈发轻盈灵秀，将深宫之中片刻偷闲的游园意趣晕染在绢素之上，藏着深闺里难得的松弛意态，古韵内敛悠长。",[23,24,202,28,29,59,61,170,62,30,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2765d101e95a8b69919d662341f6dace.jpg",[],{"id":9079,"slug":9080,"title":9081,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":9082,"thumbUrl":9089,"material":808,"size":809,"collection":3244,"collections":9090,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":49},225898,"argenteuil-late-afternoon-1872-mo-nai-225898","Argenteuil, Late Afternoon, 1872",[7526,3239,7527,7418,9083,32,1288,7,69,9084,9085,9086,5404,411,1290,66,9087,1446,9088],"笔触松散","烟囱","倒影","傍晚","工厂建筑","余晖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc7885977dc6034e2c69f48a941935d.jpg",[3244],{"id":9092,"slug":9093,"title":9094,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":9095,"thumbUrl":9101,"material":808,"size":809,"collection":3244,"collections":9102,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":49},225718,"blick-auf-die-kirche-von-saint-paul-de-mausole-jpeg-fan-gao-225718","Blick auf die Kirche von Saint-Paul-de-Mausole.jpeg",[3239,3240,9096,9097,3148,9098,7,5404,9099,9100],"笔触奔放","色彩鲜明","教堂建筑","草垛","秋季植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5684c182c28b95f688e253f2dd82f437.jpg",[3244],{"id":9104,"slug":9105,"title":9106,"dynasty":223,"author":4731,"museum":459,"description":9107,"tags":9108,"thumbUrl":9110,"material":179,"size":179,"collection":179,"collections":9111,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":128},224593,"liang-yuan-fei-xue-tu-yuan-jiang-224593","梁园飞雪图","《梁园飞雪图》是清代画家 创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,152,24,25,59,29,28,30,62,818,5148,7,69,70,117,9109,5011,5454,748,676,694],"长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":9113,"slug":9114,"title":9115,"dynasty":18,"author":312,"museum":20,"description":9116,"tags":9117,"thumbUrl":9118,"material":140,"size":9119,"collection":179,"collections":9120,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":49},223340,"yun-feng-yuan-tiao-tu-xia-gui-223340","云峰远眺图","图绘群山相拥，山腰中云雾霭霭，一平坦处二人观景寒暄，一小童拿一长竿站立其后；远处松木成林，楼台庭院坐落于山腰中，隐约的山峰高耸陡峭，侧面如刀削般平整。此画画风近夏圭风格，画面简而不空，所画山峰线条刚劲、峰顶尖利！",[23,152,24,25,114,30,118,61,31,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728ca2ae2c5d24dda0b691a4c2b1e73f.jpg","24.8*26.4cm",[],{"id":9122,"slug":9123,"title":9124,"dynasty":223,"author":325,"museum":167,"description":3966,"tags":9125,"thumbUrl":9126,"material":415,"size":3970,"collection":124,"collections":9127,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":49},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）",[23,152,24,29,28,59,410,61,62,30,7131,7,70,35,592,173,117,7778,69,6015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg",[124,45],{"id":9129,"slug":9130,"title":9131,"dynasty":223,"author":9132,"museum":111,"description":9133,"tags":9134,"thumbUrl":9135,"material":8673,"size":9136,"collection":124,"collections":9137,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":128},222632,"jiang-shan-wu-jin-tu-juan-gao-cen-222632","江山无尽图卷","高岑","创作年代不详，据此图之笔意推断，应是高岑年轻时期、即崇德顺治年间的作品。张跋诩之“云林之淡远，山樵之缜密”，并以“黄子久之山水烟云生动林壑虚闲”以为比拟，认定《江山无尽图》“堪为书画舫中第一珍玩”。\n高岑的山水画从宋元入手,并承明代吴门诸家之法,形成两种面貌:一种承继所谓“北宗”传统,从宋范宽到明唐寅;另一路山水,则远绍元代的黄公望、王蒙，近法明代沈周，文徵明。《千里江山图》就是高岑吸取了黄公望空灵简洁的勾线法和王蒙圆润细密的皴染法。",[23,24,25,26,114,28,118,30,341,342,7,117,35,115,64,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","26×455",[124,103],{"id":9139,"slug":9140,"title":9141,"dynasty":54,"author":9142,"museum":167,"description":9143,"tags":9144,"thumbUrl":9148,"material":1410,"size":9149,"collection":124,"collections":9150,"showCount":9045,"zanCount":928,"manualWeight":48,"mainColor":49},222158,"shan-zhuang-gao-yi-tu-li-zai-222158","山庄高逸图","李在","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[23,24,152,475,114,9145,9146,243,204,63,115,9147,3029,205,62,7,245],"云头皴","蟹爪枝","客舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","109.1×188.8cm",[124,103],{"id":9152,"slug":9153,"title":9154,"dynasty":133,"author":355,"museum":167,"description":9155,"tags":9156,"thumbUrl":9157,"material":140,"size":9158,"collection":124,"collections":9159,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":49},220817,"xi-shan-gao-yi-zhou-wang-meng-220817","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[23,152,24,25,202,114,28,118,30,7,64,63,116,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F067de7b72861ee94fa127638ad6c1f4c.jpg","该幅113.7x65.3公分；诗塘26.5x65公分；全幅93公分",[124,45],{"id":9161,"slug":9162,"title":9163,"dynasty":223,"author":472,"museum":368,"description":2506,"tags":9164,"thumbUrl":9165,"material":122,"size":2510,"collection":124,"collections":9166,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":128},220001,"shan-shui-hua-fang-mi-you-ren-wang-shi-min-220001","山水画-仿米友仁",[24,25,114,60,30,341,342,7,37,69,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6726d39f7aa7017108d87a88825bc186.jpg",[124],{"id":9168,"slug":9169,"title":9170,"dynasty":18,"author":6327,"museum":459,"description":9171,"tags":9172,"thumbUrl":9173,"material":78,"size":9174,"collection":44,"collections":9175,"showCount":9045,"zanCount":928,"manualWeight":48,"mainColor":49},219755,"zhong-xing-zhen-ying-tu-liu-duan-ben-xiao-zhao-219755","中兴祯应图六段本","萧照（公元1131年-公元1162年），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,24,152,26,29,28,118,30,61,62,90,116,7,1420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba4eb15be72fe5d39ab5fa3b3fd957.jpg","31x1148厘米",[44],{"id":9177,"slug":9178,"title":9179,"dynasty":18,"author":1816,"museum":20,"description":9180,"tags":9181,"thumbUrl":9182,"material":555,"size":9183,"collection":44,"collections":9184,"showCount":9045,"zanCount":11,"manualWeight":48,"mainColor":49},218626,"tang-feng-tu-ce-ma-he-zhi-218626","唐风图册","马和之，生卒年月不详，钱塘人（杭州），南宋著名人物画家，主要社会活动在高宗时期。据记载马和之的官方身份为画院待诏，又有文献说他曾考中进士，官至工部或兵部侍郎。这么看，在南宋画院中，马和之身份特殊，不是一般的伎术官员。南宋末期的著名文人周密说他为画师之首，语意是模糊的，具体情况有待学术界去研讨清晰。\n在绘画上，马和之以人物画著称。他的绘画技术主要学习唐代吴道子、宋代李公麟两家。技术成熟期的马和之，在吴、李基础上，独创了人物形象的独特描摹技术：柳叶描（又称蚂蟥描）。这种描法的线条粗细变化丰富，用笔起伏明显，清俊不羁，活泼潇洒，韵味十足。因他创作上的成就斐然，人们以“小吴生”称之，将其置于吴道\n子这类大师的行列。南宋以后的绘画大家黄公望、吴镇、唐寅、任伯年、徐悲鸿等人皆对其推崇备至。\n马和之的传世作品尚有很多，其中《后赤壁赋图》、《 古木流泉图 》及取材《 诗经》的组图等。《诗经组图》是马和之的代表性作品，它的产生起因于宋高宗亲自书写的三百篇书法，配图是马和之完成的。这套组图，常见的有故宫博物院现藏的《小雅·鹿鸣之什图》卷、《节南山之什图》卷、《豳风图》卷。辽宁省博物馆现藏的《唐风图》卷、《鲁颂三篇图》卷、《周颂·清庙之什图》卷等。此外国内外的其他机构还有《豳风》等。",[23,24,25,385,437,61,30,7,116,156,90,64,426,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4354616319dfc9cc139b7b4d768562fa.jpg","27x44.7cm",[44],{"id":9186,"slug":9187,"title":9188,"dynasty":18,"author":434,"museum":111,"description":9189,"tags":9190,"thumbUrl":9191,"material":78,"size":9192,"collection":124,"collections":9193,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":49},218587,"xue-jiang-gui-zhao-tu-yi-ming-218587","雪江归棹图","寒江雪霁，远山如卧，素白积雪覆在黛色峰峦上，似披一层清薄的纱。岸边茅舍隐于疏林后，枯枝横斜间，隐约见炊烟轻袅，恍若有人家正温酒候归。江面上归棹缓移，帆影淡远，桨声似被雪色浸软，只剩水波微漾的静穆。\n\n笔墨简淡却意韵悠长：山峦以淡墨晕染，积雪肌理用细笔勾出，枯树枝桠如铁线遒劲，尽显冬日清寂之美。整幅画虚实相生，留白处含清寒之气，归舟的动与雪景的静相映成趣，藏着宋人对自然的敬畏与隐逸生活的向往——于静谧中见生机，于简淡中蕴深情，每一处细节都在诉说冬日江上的淡然心境。",[23,24,25,114,30,115,243,7,35,818,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeef43a75f0757cbfd80d5f97f0987c.jpg","26.4x26.5",[124],{"id":9195,"slug":9196,"title":9197,"dynasty":18,"author":575,"museum":167,"description":9198,"tags":9199,"thumbUrl":9201,"material":78,"size":9202,"collection":179,"collections":9203,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":128},218569,"hua-niao-shan-shui-xiao-pin-ce-shan-jing-zhang-xing-ma-yuan-218569","花鸟山水小品册-山径杖行","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,4253,24,25,385,28,118,30,61,9200,7,244,153],"山径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc6032da58b059d48a3d1b48a9d58189.jpg","33*19",[],{"id":9205,"slug":9206,"title":9207,"dynasty":54,"author":537,"museum":20,"description":9208,"tags":9209,"thumbUrl":9210,"material":122,"size":9211,"collection":1822,"collections":9212,"showCount":9045,"zanCount":48,"manualWeight":48,"mainColor":128},218499,"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[23,24,25,26,912,114,28,29,30,62,63,64,116,7,117,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[1822,124],{"id":9214,"slug":9215,"title":599,"dynasty":54,"author":9216,"museum":20,"description":9217,"tags":9218,"thumbUrl":9219,"material":122,"size":9220,"collection":124,"collections":9221,"showCount":9045,"zanCount":11,"manualWeight":48,"mainColor":128},218374,"shan-shui-tu-li-yong-chang-218374","李永昌","层岩叠嶂间，笔墨勾勒出山川苍劲骨力。主峰巍峨，披麻皴皴染结合显浑厚质感；侧峰错落，林木点缀其间，松针挺劲，杂树枯枝带萧散之态。山间屋舍隐于林麓，或傍崖或临溪，似有幽人栖居之意。\n\n线条简劲，墨色层次分明，干笔皴擦见苍率，湿墨点染显润泽。近景树木扶疏，中景峰峦起伏，远景云雾含藏，虚实相生间得山水深远之致。整幅画存宋元遗韵，又具新安画派初兴的清逸之气，简淡中见古雅，丘壑间寄幽情，仿佛可闻林泉响，可感山居静。",[23,24,114,118,202,153,30,117,7,994,540,35,1704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547c8176db772742ccf265437f537614.jpg","纵125.7cm，横58.8cm",[124],{"id":9223,"slug":9224,"title":1712,"dynasty":18,"author":434,"museum":459,"description":9225,"tags":9226,"thumbUrl":9227,"material":808,"size":809,"collection":179,"collections":9228,"showCount":9229,"zanCount":666,"manualWeight":48,"mainColor":49},288461,"xi-shan-wu-jin-tu-yi-ming-288461","此作用全景长卷铺展丘壑，群峰层峦拔地而起，或雄峙崔嵬，或玲珑峭拔，烟云在峰林之间舒卷弥漫，晕染出远近山岫的虚实层次。\n\n笔墨苍劲古拙，以浑厚皴法写出山石嶙峋肌理，林木错落点染，蓊郁苍茂。澄澈水面留白托景，行舟、山居隐现于林泉，将山野的雄浑大气与村居野趣相融，于咫尺长卷中铺陈出千里江山的无尽意趣，尽显林泉高致的山水雅韵，藏着天地悠悠的静穆生机。",[23,24,26,114,475,117,7,64,115,63,676,37,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd2b09a208c3f6337ea5aa4bf8bcfd5.jpg",[],60,{"id":9231,"slug":9232,"title":9233,"dynasty":54,"author":2132,"museum":459,"description":9234,"tags":9235,"thumbUrl":9237,"material":808,"size":809,"collection":179,"collections":9238,"showCount":9229,"zanCount":48,"manualWeight":48,"mainColor":128},237824,"fang-zhang-seng-yao-mei-gu-shan-shui-shan-zhang-hong-237824","仿张僧繇没骨山水扇","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,2895,9236,28,60,30,115,7,358,500,32,968,153],"没骨山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e8df82dfc9d045a62c3ee52c28183e.jpg",[],{"id":9240,"slug":9241,"title":9242,"dynasty":223,"author":647,"museum":459,"description":9243,"tags":9244,"thumbUrl":9245,"material":360,"size":9246,"collection":124,"collections":9247,"showCount":9229,"zanCount":48,"manualWeight":48,"mainColor":128},234876,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234876","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,25,385,28,30,118,60,153,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3906ab5fe733b92e1b4dac6a6a17ae.jpg","纵21厘米，横27厘米",[124,45],{"id":9249,"slug":9250,"title":3901,"dynasty":54,"author":955,"museum":20,"description":4618,"tags":9251,"thumbUrl":9252,"material":1218,"size":3905,"collection":124,"collections":9253,"showCount":9229,"zanCount":48,"manualWeight":48,"mainColor":128},233800,"shan-shui-ce-dong-qi-chang-233800",[24,25,385,114,28,30,118,341,342,7,1665,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034929475ad5bc8450af2c928ccea8b8.jpg",[124],{"id":9255,"slug":9256,"title":9257,"dynasty":18,"author":434,"museum":167,"description":9258,"tags":9259,"thumbUrl":9261,"material":28,"size":9262,"collection":42,"collections":9263,"showCount":9229,"zanCount":48,"manualWeight":48,"mainColor":49},223566,"xi-shan-mu-xue-zhou-yi-ming-223566","溪山暮雪轴","此画描绘的是白雪覆盖溪岸与山峰，群鸦翔集欲归巢，江天一片寒冬之意。溪山之间，仍见绿树丛丛寒林不多，应是江南冬日之景象。描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,24,152,202,30,118,114,341,747,7,206,9260,115,1289],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米",[42,124,103],{"id":9265,"slug":9266,"title":9267,"dynasty":54,"author":2636,"museum":368,"description":9268,"tags":9269,"thumbUrl":9270,"material":415,"size":9271,"collection":124,"collections":9272,"showCount":9229,"zanCount":11,"manualWeight":48,"mainColor":49},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,25,26,28,30,120,119,118,29,243,32,62,63,64,115,116,156,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[124,45],{"id":9274,"slug":9275,"title":9276,"dynasty":18,"author":434,"museum":1443,"description":9277,"tags":9278,"thumbUrl":9279,"material":360,"size":9280,"collection":42,"collections":9281,"showCount":9229,"zanCount":48,"manualWeight":48,"mainColor":49},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[23,24,25,26,114,118,30,7,244,37,205,341,342,289,426,116,156,578,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[42,124,103],{"id":9283,"slug":9284,"title":9285,"dynasty":18,"author":1816,"museum":20,"description":9286,"tags":9287,"thumbUrl":9288,"material":40,"size":9289,"collection":42,"collections":9290,"showCount":9229,"zanCount":928,"manualWeight":48,"mainColor":49},221628,"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[23,24,25,26,437,28,120,119,61,62,7,68,30,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[42,124,45],{"id":9292,"slug":9293,"title":9294,"dynasty":54,"author":955,"museum":167,"description":9295,"tags":9296,"thumbUrl":9297,"material":316,"size":9298,"collection":124,"collections":9299,"showCount":9229,"zanCount":48,"manualWeight":48,"mainColor":128},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[23,24,25,114,30,118,60,119,120,153,63,64,7,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 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万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,152,24,25,2895,28,114,118,30,115,156,7,358,1665,500,32,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],{"id":9373,"slug":9374,"title":9375,"dynasty":223,"author":2985,"museum":167,"description":9376,"tags":9377,"thumbUrl":9378,"material":316,"size":9379,"collection":124,"collections":9380,"showCount":9348,"zanCount":48,"manualWeight":48,"mainColor":128},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","《西湖十景图卷》由清代书画家董邦达绘。虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,24,25,26,28,30,118,59,153,62,63,64,7,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[124],{"id":9382,"slug":9383,"title":9384,"dynasty":223,"author":1431,"museum":658,"description":9385,"tags":9386,"thumbUrl":9388,"material":9389,"size":9390,"collection":124,"collections":9391,"showCount":9348,"zanCount":48,"manualWeight":48,"mainColor":49},222609,"yi-dao-fei-quan-gong-xian-222609","一道飞泉","画面描绘了近景崇山，山上有丛林、枝繁叶茂，几间茅庵掩映于树丛之中，使得寂静的山林更增添了几分幽邃之感，清清的泉水顺山而下，明快、幽雅、整幅画面笔酣墨润、气韵即足，给人一种清新自然之感。作者运用了“披麻皴”“雨点皴”等画法，虽不用泼墨，湿墨，但有泼墨之淋漓，浓郁苍润的效果。代表了作者山水画之独特风格。\n画的右上角有作者自题七言律诗： “静壁春泉一道飞，白龙藏影见斜辉，谁家草阁遥无际，半醉之窗向翠微。”署 “甲子上元(1684年1月15日)半亩龚贤书并题”款。下钤“龚贤印”白文方印，“半千”朱文方印。画上钤有“绶福堂藏画印”等鉴藏印。此画系作者晚年作品，现藏辽宁省博物馆。龚贤，字半千，又字野遗，号半亩，又号柴丈人。江苏昆山人，流寓江陵(今南京)清凉山。工诗文，行草，尤工山水，有《草香堂集》、《画诀》、《柴丈人画诀》、《课徒画稿》等著作行世，是金陵画派中最有成就的画家，并居金陵画派之首。\n在这幅画中，作者以石象征“长寿”，与牡丹相配合，寓意“富贵长寿”，是民间喜庆节日广为引用的吉祥图案。此画构图虽满，却巧妙地利用了绘画中的透视法则，以静映动，以深托远，尽显距离的美感，使有限的空间，充满无限的张力。\n繁茂的枝叶表现的甚为精彩，细如游丝的叶筋，其走向笔笔皆有交代，棱角分明，线条柔而刚劲，出神入化，使得薄如蝉翼的墨色叶片，正侧向背，顾盼顾仰，鲜活灵动。\n该画中所画之石，粗砺凝重，具有坚贞的傲骨和顽强的生命力，是其自身性格绝好的写照。从其改用左手绘画，到创作此幅画作止，历时九年，九年里从不习惯到习惯，从不熟练到熟练再到精益求精，其为之所付出的艰辛和努力，可想而知。幅首其左手题字也为整幅画面增色不少，其左冲右突，飘飘忽忽的结体，在这里好似垂挂的珠帘一般，随风摆动，与图画有机地结合在一起，别具韵致，给人雾里看花，隔帘观美之感。",[23,152,24,25,202,114,9387,30,64,7,117,116],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[124,103],{"id":9393,"slug":9394,"title":9395,"dynasty":133,"author":4160,"museum":167,"description":9396,"tags":9397,"thumbUrl":9399,"material":316,"size":9400,"collection":124,"collections":9401,"showCount":9348,"zanCount":928,"manualWeight":48,"mainColor":128},221752,"hua-xue-jing-zhou-sheng-mao-221752","画雪景轴","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[23,152,24,25,202,114,28,118,30,818,748,7,35,9398,32,502,117,7131,1300],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","151x27.3公分",[124,103],{"id":9403,"slug":9404,"title":9405,"dynasty":18,"author":298,"museum":3521,"description":9406,"tags":9407,"thumbUrl":9409,"material":40,"size":9410,"collection":42,"collections":9411,"showCount":9348,"zanCount":11,"manualWeight":48,"mainColor":49},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,152,24,25,26,437,114,28,61,30,7,35,115,64,116,120,3586,9408,1067,156,426],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 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cm",[42,44,103],{"id":9413,"slug":9414,"title":9415,"dynasty":18,"author":550,"museum":167,"description":9416,"tags":9417,"thumbUrl":9418,"material":78,"size":9419,"collection":42,"collections":9420,"showCount":9348,"zanCount":48,"manualWeight":48,"mainColor":128},218968,"da-jiang-fu-yu-tu-li-tang-218968","大江浮玉图","图片显示的是一条大河，波涛汹涌，两艘河船一起停泊在附近的码头上。有一些岛屿升入河中，几块巨石与主山遥相呼应，而森林树木、寺庙和漂浮的人物被描绘得非常详细。其笔法与郭熙的《早春》相似，结构与徽宗的《溪山秋色》相似。它可能是郭熙在宣和、绍兴年间（1119-1162）制作的。",[23,24,25,114,30,118,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54993d0fc188603ac72284d8609e6fb4.jpg","20.8x22.2",[42,124],{"id":9422,"slug":9423,"title":9424,"dynasty":133,"author":434,"museum":1926,"description":9425,"tags":9426,"thumbUrl":9427,"material":78,"size":9428,"collection":44,"collections":9429,"showCount":9348,"zanCount":48,"manualWeight":48,"mainColor":49},218470,"xiao-xia-tu-yi-ming-218470","消夏图","松荫覆庭，廊榭半开，文人雅士或围案展卷细品，或执扇浅语，或侍立凝神。案上瓜果鲜妍，砚池墨香隐现，器物玲珑有致。笔墨细腻处，人物神态宛然，衣袂轻扬见风骨；庭院葱郁间，光影流转映清雅。燥热的夏日，被书卷的静气、友朋的闲谈悄悄消解，连风都带着几分慵懒的诗意。画面以细腻笔触勾勒人物情态，以温润色调晕染庭院生机，将元代文人闲适的雅趣与内心的澄明，凝在这一方消夏的天地里，尽显岁月沉淀的悠然与从容。",[24,152,25,28,29,61,70,7,2938,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bbfdb330eb5f30734846d33d935a8a6.jpg","24.5x15.7",[44],{"id":9431,"slug":9432,"title":9433,"dynasty":18,"author":434,"museum":459,"description":9434,"tags":9435,"thumbUrl":9436,"material":78,"size":9437,"collection":44,"collections":9438,"showCount":9348,"zanCount":11,"manualWeight":48,"mainColor":49},218449,"rui-ying-tu-yi-ming-218449","瑞应图","服饰、服装、建筑和家具都是典型的宋代制度。画风古朴，以绿色为背景，以树木和流云为组合，大量镀金和重彩绘制，都是五代初期和北宋时期的风格。",[24,152,28,59,29,61,62,63,7,117,69,1856,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cd80077892a3a20c59217572e0e60d9.jpg","35x56.5",[44],{"id":9440,"slug":9441,"title":9442,"dynasty":133,"author":9443,"museum":20,"description":9444,"tags":9445,"thumbUrl":9446,"material":303,"size":9447,"collection":124,"collections":9448,"showCount":9348,"zanCount":11,"manualWeight":48,"mainColor":128},218302,"lin-tang-xiao-se-tu-wu-jin-218302","林塘晓色图","吴瑾","淡墨晕开晓雾，塘面似蒙轻纱，水汽氤氲间，近岸松石苍劲。松针以中锋勾勒，如笔如毫，透着坚韧；山石干笔皴擦，纹理古拙，与湿墨晕染的水面相映，干湿相济，漫出清晨的湿润。远岫隐于薄雾，墨色渐浅，层次叠生，平远之境悠然展开。林木错落，枝干虬曲，似沐晨风，摇曳生姿。无浓艳设色，仅以水墨浓淡虚实，织就林塘晓色的静谧清幽。元代文人画“以意为先”的韵致在此尽显——观者仿佛立于塘边，闻晨露滴叶，见天光初透，心随画面沉入那份天地初醒的恬淡与悠远。",[24,25,475,114,118,228,153,119,7,117,64,1300,206,994,761,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248c446d889f8b9b86494e01e5e523fe.jpg","30x54cm",[124],{"id":9450,"slug":9451,"title":9452,"dynasty":18,"author":977,"museum":978,"description":9453,"tags":9454,"thumbUrl":9455,"material":78,"size":982,"collection":179,"collections":9456,"showCount":9348,"zanCount":928,"manualWeight":48,"mainColor":985},217004,"wu-bai-luo-han-zhi-guan-she-li-guang-tu-zhou-ji-chang-217004","五百罗汉之观舍利光图","画的顶部是一个高高的悬崖，有一个瀑布，太阳照在云层之上，有三道灵光照下来，每道灵光都有一个小孩子拿着棍子。下面，在松树、柏树和岩石之间，五个罗汉庄严地抬头。",[23,24,25,202,29,28,923,61,30,117,204,7,8423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20e2fafd5ebc853e0a35328f40becb95.jpg",[],{"id":9458,"slug":9459,"title":3637,"dynasty":133,"author":1837,"museum":459,"description":9460,"tags":9461,"thumbUrl":9462,"material":808,"size":809,"collection":179,"collections":9463,"showCount":9464,"zanCount":928,"manualWeight":48,"mainColor":49},290935,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-290935","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。",[23,152,24,26,25,475,28,114,118,30,7,35,2869,8396,32,120,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3acdbfa403f50624d802c30aec9c15a.jpg",[],58,{"id":9466,"slug":9467,"title":9468,"dynasty":2672,"author":9469,"museum":459,"description":9470,"tags":9471,"thumbUrl":9472,"material":808,"size":809,"collection":179,"collections":9473,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":128},290098,"you-chun-tu-quan-juan-zhan-zi-qian-290098","游春图全卷","展子虔","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[23,24,152,26,27,28,30,1654,626,243,64,154,7,156,119,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c745d85afcbc62c30de0087d4f06b8a.jpg",[],{"id":9475,"slug":9476,"title":6479,"dynasty":223,"author":3550,"museum":459,"description":7319,"tags":9477,"thumbUrl":9478,"material":179,"size":179,"collection":124,"collections":9479,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":128},237873,"shan-shui-tu-zhou-kun-can-237873",[24,114,118,202,25,120,153,30,243,7,204,676,206,244,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[124,1822],{"id":9481,"slug":9482,"title":3901,"dynasty":223,"author":3836,"museum":3521,"description":9483,"tags":9484,"thumbUrl":9485,"material":179,"size":179,"collection":124,"collections":9486,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":128},236728,"shan-shui-ce-hua-yan-236728","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,28,385,114,118,341,342,116,1067,63,156,289,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa832e728718e0546bb3aa1e9daaea510.jpg",[124,45],{"id":9488,"slug":9489,"title":9490,"dynasty":223,"author":434,"museum":20,"description":9491,"tags":9492,"thumbUrl":9494,"material":179,"size":9495,"collection":179,"collections":9496,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":128},234388,"hong-li-sui-chao-xing-le-tu-zhou-yi-ming-234388","弘历岁朝行乐图轴","瑞雪轻覆朱宫翠檐，琼枝素裹，将御苑晕作琉璃天地。整幅画笔致工细入微，殿宇雕梁画栋分毫毕现，人物衣袂鲜活灵动。岁朝佳节间，众人或围聚展玩古玩，或信步笑谈，稚童嬉闹于阶前，暖阁中老者安坐闲话，融融暖意漫过银装素裹的苑囿，将年节的雍容闲适与团圆意趣铺陈得鲜活生动，清冷雪景晕染下，更衬出岁朝的温情缱绻，尽显雅致年味。",[24,28,29,59,202,30,61,62,116,7,818,70,3630,173,117,69,5454,3968,9493],"宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954ae56eb1839f49ca658db575e98.jpg","纵305厘米，横向206厘米",[],{"id":9498,"slug":9499,"title":9500,"dynasty":223,"author":381,"museum":20,"description":9501,"tags":9502,"thumbUrl":9503,"material":1218,"size":9504,"collection":179,"collections":9505,"showCount":9464,"zanCount":666,"manualWeight":48,"mainColor":128},233959,"dui-ju-tu-zhou-shi-tao-233959","对菊图轴","图绘双松虬结的庭院内梅、竹互映，房舍错落，屋内高士观赏秋菊，其品菊的举止生动传神，点明了“对菊”的画作主题。庭院外是迂回盘桓的山峦和自远而近的江水，它们为高士远离世俗的隐居之地平添了几分清幽。此图与石涛贯有的笔墨雄健纵恣、豪放洒脱的画风不同，刻画工整细腻，或徐或疾的笔致和富于节奏变化的朱点、墨点自得一股苍莽之气。此幅当属石涛居住扬州时期创作的一幅难得的精细之作。",[24,25,114,118,202,153,30,761,9408,788,117,7,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7030dd986967133b9acf5ab16c143856.jpg","纵99.5厘米，横40.2厘米",[],{"id":9507,"slug":9508,"title":9509,"dynasty":223,"author":1579,"museum":459,"description":9510,"tags":9511,"thumbUrl":9512,"material":179,"size":179,"collection":179,"collections":9513,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":128},233910,"hua-hui-shan-shui-ce-yun-shou-ping-233910","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,152,114,30,7,115,35,120,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f978b31f4e82d9cf3cbe5710996a355.jpg",[],{"id":9515,"slug":9516,"title":9517,"dynasty":223,"author":4356,"museum":20,"description":9518,"tags":9519,"thumbUrl":9520,"material":9521,"size":9522,"collection":124,"collections":9523,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":49},223136,"shi-wan-tu-ce-ren-xiong-223136","十万图册","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,24,25,385,28,27,30,118,117,7,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665e6202ad6aba5ebcf701093a7cb813.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[124],{"id":9525,"slug":9526,"title":9527,"dynasty":223,"author":325,"museum":167,"description":3966,"tags":9528,"thumbUrl":9531,"material":415,"size":3970,"collection":124,"collections":9532,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":49},222759,"shi-er-yue-ling-tu-11-yue-lang-shi-ning-222759","十二月令图（11月）",[23,24,29,28,61,62,7,117,70,9529,9530],"参禅","古建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6ec9adc0590d630722ea9245c07bfe.jpg",[124,45],{"id":9534,"slug":9535,"title":9536,"dynasty":54,"author":55,"museum":167,"description":9537,"tags":9538,"thumbUrl":9539,"material":140,"size":179,"collection":179,"collections":9540,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":128},222202,"hua-zhu-shen-he-jing-ce-ye-chou-ying-222202","画竹深荷静册页","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。\n综述:\n仇英的山水画多学赵伯驹、刘松年，发展南宋李唐、刘松年、马远、夏圭的“院体画”传统，综合融会前代各家之长，即保持工整精艳的古典传统，又融入了文雅清新的趣味，形成工而不板、研而不甜的新典范，还有一种水墨画，从李唐风格变化而来，作界画楼阁，尤为细密。\n仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范，后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代之杰出者\n纵观仇英的山水画，大致具有如下几个鲜明的特点：\n首先，在境界上不一味追求富丽堂皇或空漠冷寂的气氛，而在“秀雅纤丽”中有一种飘逸优雅的气息。所作山水多为表现士大夫林泉诗酒生活和清新旷远之自然景色。由于仇英出身贫寒、读书不多，其画作中也少有诗文题跋，一般仅于画幅边角落款，未有诗画结合之面貌。但是所画丘壑泉石、烟云竹树、亭台楼阁、人物景色皆精描细染而又不失清秀雅逸的气韵。特别是他描写文人高士隐遁生活的作品，如《桃源高隐图》《蕉荫结夏图》《月下吹笛图》《园居图》《春夜宴桃李园图》等，无时不流露其隽秀飘逸的情怀，画卷气溢于笔墨之中。\n其次，仇英的山水画虽隽逸优雅，“士气”十足，却少有一般文人画家笔下那种冷寂空疏的情调，而总是流溢出清新明丽的气氛，有的作品还充满蓬勃欢乐的意趣。如《莲溪渔隐图》中平远山水、溪岸水畔、房屋堂轩、茅舍鱼罟、田亩葱郁、小桥相通、行人往来，画面布局清旷，一片江南夏日情景，极富生活气息，给人以可游可居之感。再看描绘四川剑门关景色的《剑阁图》，画面峰峦重迭，远处是皑皑的雪崖雪峰，近处是重彩辉映的山峦，陡峭的绝壁上树木茂密，残雪覆盖，在崎岖的栈道上，人马众多，或隐或现迎面而来。人马动态各异，行人身着各式冬装，无不具体生动。此画画风工整，色彩浓艳，丰满壮观，可谓仇英青绿画法的代表作。仇英作品中这种浓艳而清新、壮阔而平朴的审美意趣与明中期整个美学思想的世俗化倾向相一致。\n第三，仇英的山水画风格虽源于传统青绿和“院体”画法，但并不拘于一家一派的面貌。就其整个山水画而言，在技法上可分为三类：一是较为纯正的大青绿山水，山石勾勒后不用细皴，山脚以赭石分，以青绿重色染石面，然后每一块面再加染石绿，或分以石青，使各山色协调而有分别，树木云岫勾勒精细。其《九成宫图》《桃源仙境图》等属此类典型之作。二是青绿画法与水墨画法相融合的一类。通常近处山石用小斧劈细细皴成，用青绿法以绿与石青相间染出，色不凝笔。远峰不作皴笔，以花青或石青、石绿和墨渍染而成，似有董源或沈、文画法之精神。《秋江待渡图》《莲溪渔隐图》《仙山楼阁图》等为此类代表作。三是以水墨皴染为主的画法，此类画法得到刘松年、李唐院体家法，山石用细笔小斧劈法，分面细，然于阴暗处和墨淋之，立即又以清水接染，绢地不吸水，故能产生含混融和的意趣，略见吴派绘画之影响。树法中增强转折趣味，衬以夹叶，叶叶分明，一枝一叶无不与实景契合。《松亭试泉图》《松溪论画图》等均属此类画法。",[23,24,25,2895,29,28,30,1067,5330,7,358,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878a5dc84b1d01f557f1f963ad693448.jpg",[],{"id":9542,"slug":9543,"title":9544,"dynasty":54,"author":4230,"museum":658,"description":9545,"tags":9546,"thumbUrl":9547,"material":40,"size":9548,"collection":124,"collections":9549,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":49},222035,"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[23,152,24,25,202,114,28,118,30,116,63,64,7,204,61,117,37,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[124,103],{"id":9551,"slug":9552,"title":9553,"dynasty":54,"author":9554,"museum":56,"description":9555,"tags":9556,"thumbUrl":9557,"material":1218,"size":9558,"collection":124,"collections":9559,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":128},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[23,24,25,26,28,30,29,118,114,4609,62,63,64,116,156,117,7,37,61,726,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 x1183.6cm",[124,45],{"id":9561,"slug":9562,"title":1178,"dynasty":18,"author":312,"museum":167,"description":9563,"tags":9564,"thumbUrl":9565,"material":28,"size":9566,"collection":124,"collections":9567,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":128},221225,"shan-shui-zhou-xia-gui-221225","诗塘 王铎题云。老干不事纤细小巧。骨格坚凝韶秀。有大家气。即此一画。雪色蒙晦。石寒铁色。噫。阴晴不可知。有天道寓于中。谓画者果无意欤。夏圭钱塘人。宁宗时擅名。师范宽李唐。宗有其俪。凡以觕粝冒圭者非其真也。丙戌三月时居燕。为二弟仲和题。王铎。钤印一。铎。",[23,24,475,202,114,28,118,117,7,501,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da237f95d56b5840f04b1a93af93930.jpg","该幅47.6x32.5公分；诗塘28x32.6公分",[124,103],{"id":9569,"slug":9570,"title":8357,"dynasty":54,"author":955,"museum":368,"description":9571,"tags":9572,"thumbUrl":9573,"material":2012,"size":9574,"collection":124,"collections":9575,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":128},220956,"shu-lin-yuan-xiu-tu-dong-qi-chang-220956","董其昌为同年袁可立而作。\n此图为近景画，坡石错落，勾勒圆浑。坡上疏林，用笔虽简而各蕴姿态。\n中景水面空旷，一山耸峙，在平远的构图上颇见险势。整幅画简洁朴拙。",[23,24,25,202,114,118,30,1981,386,244,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb9762e8762c363347fa3b81bfaec84.jpg","纵98.7厘米，横38.6厘米",[124,103],{"id":9577,"slug":9578,"title":9579,"dynasty":54,"author":9580,"museum":368,"description":9581,"tags":9582,"thumbUrl":9584,"material":303,"size":9585,"collection":124,"collections":9586,"showCount":9464,"zanCount":11,"manualWeight":48,"mainColor":128},219948,"fang-mi-fei-yun-shan-tu-mo-shi-long-219948","仿米芾云山图","莫是龙","莫是龙（1537年—1587年），得米芾石刻“云卿”二字，因以为字，字云卿，后以字行，更字廷韩，号秋水，又号后明、玉关山人、虚舟子等。南直隶松江府华亭（今上海松江）人，莫如忠长子。明代文学家、书画家、藏书家。\n八岁读书，十岁属文，十四岁补郡诸生，人称“神童”。皇甫汸、王世贞辈亟称之。不喜科举业而攻古文辞及书法、绘画，以贡生终。",[23,24,25,26,114,60,119,120,118,30,9583,243,7,37,153],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1550e95af95b112efd3574d713c9812.jpg","20.8x233厘米",[124],{"id":9588,"slug":9589,"title":9590,"dynasty":54,"author":9591,"museum":299,"description":9592,"tags":9593,"thumbUrl":9594,"material":303,"size":179,"collection":124,"collections":9595,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":128},219705,"yun-shan-ping-yuan-tu-shao-mi-219705","云山平远图","邵弥","邵弥。字僧弥，后以字为名，号瓜畴、芬陀居士。性迂僻不谐俗，工诗文，善书法，尤长于绘画。擅画山水，亦能画水仙兰竹，其山水以元人为师承对象，略参以宋人笔意，笔墨疏简秀逸。名重一时，与董其昌、王时敏、王鉴、李流芳、杨文聪、张学曾、程嘉燧、卞文瑜合称画中九友。有《划开众皴图》、《云山平远图》、《贻鹤寄书图》等传出。草书受米芾、米友仁影响，楷书得锺繇法。",[23,24,114,26,118,30,881,341,342,7,115,116,156,37,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb701b7323781fa85ef2c2443e2a86e.jpg",[124,103],{"id":9597,"slug":9598,"title":9599,"dynasty":223,"author":4524,"museum":167,"description":9600,"tags":9601,"thumbUrl":9602,"material":1842,"size":9603,"collection":45,"collections":9604,"showCount":9464,"zanCount":48,"manualWeight":48,"mainColor":128},219307,"jie-shan-zhai-tu-zhou-qian-wei-cheng-219307","借山斋图轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[152,24,25,202,475,28,30,62,63,64,116,7,35,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a42bd26d4ba10e012b0184f707a951b.jpg","63.7x31.8",[45],{"id":9606,"slug":9607,"title":9608,"dynasty":223,"author":1533,"museum":459,"description":9609,"tags":9610,"thumbUrl":9611,"material":360,"size":179,"collection":124,"collections":9612,"showCount":9613,"zanCount":48,"manualWeight":48,"mainColor":49},238971,"wang-jian-shan-shui-tu-zhou-wang-jian-238971","王鉴山水图轴","万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[152,24,25,202,114,118,30,116,64,7,117,358,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7418118584b0267cf220052b12893a.jpg",[124,103],57,{"id":9615,"slug":9616,"title":9617,"dynasty":223,"author":1998,"museum":20,"description":9618,"tags":9619,"thumbUrl":9620,"material":40,"size":9621,"collection":124,"collections":9622,"showCount":9613,"zanCount":48,"manualWeight":48,"mainColor":128},236719,"shan-shui-lou-ge-zhou-yuan-yao-236719","山水楼阁轴","此图是袁耀中年时期创作的大幅画作。绘高山峻岭，山石陡峭，树木葱郁，楼阁华丽壮观，境界幽美。图中用笔严谨精到，山水以工笔画出，墨色富于浓淡变化，明净雅致，意境恬淡，别有一番韵致。",[24,59,28,29,118,30,62,117,7,32,115,69,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2cab51c3f5a3bcd636d980beb75aed.jpg","纵202.3厘米，横118.5厘米",[124,45],{"id":9624,"slug":9625,"title":9626,"dynasty":18,"author":298,"museum":3752,"description":9627,"tags":9628,"thumbUrl":9629,"material":360,"size":9630,"collection":179,"collections":9631,"showCount":9613,"zanCount":48,"manualWeight":48,"mainColor":128},231424,"xiao-xiang-wo-you-tu-juan-li-gong-lin-231424","潇湘卧游图卷","《潇湘卧游图》为纸本墨笔，纵30.2厘米，横399.4厘米，意境开阔，大开大阖，随着观者视觉的移动，描绘了潇湘美景。 卷首有乾隆皇帝御题“气吞云梦”四字。乾隆帝又于卷中两处分别题有一跋一诗，题咏不足，又在卷尾画了一丛竹子并有款识。卷后有同时代题跋五纸九人，九人分别为信斋葛郯（绍兴二十四年进士，卒于淳熙八年）、串斋张贵谟、蒙斋章深、淡斋葛郛（约1131—约1196）、可斋葛邲（约1131—约1196）、如斋彦章、愚斋张泉甫、筠斋（筠斋后接“随喜”二字，当非名字）、理窟，除“理窟”未署斋名外，其他均署斋号。一人写到：“大地山河是幻，画是幻幻，只今说幻亦幻”。其中葛郯以一句“一人惯行草路，未免荆棘参天。一人顺水推舟，不觉浪来头上”暗示云谷（或他的朋友）遭受不白之冤。\n潇湘是一个合称，具体指发源于中国湖南宁乡的潇水和发自广西兴安的湘水（或湘江）经衡阳、湘潭等地汇入洞庭湖流域，这里烟雨蒙蒙，景色轻灵别致，不异于人间仙境。唐宋的诗人骚客无不以造访此奇景，吟诗以赞人生幸事，文人画家也纷纷着墨渲染。一位早年云游四方的禅僧云谷圆照晚来久居吴兴，以未见潇湘奇景为憾，遂求各路名家为其画“潇湘图”以补此缺。其中仅有一幅画由“舒城李氏”所作的潇湘画作流传至今，即为《潇湘卧游图》。\n《潇湘卧游图》是对《潇湘八景》的一种阐释，但是画家或者赞助人意味深长的修改了它。这幅山水包括的主题有落雁、烟寺、山市、晾晒渔网的渔村，以及暗示“归帆”的鼓足的风帆，但是三幅晚景图——“暮雪”、“夜雨”、“秋月”却难以描绘。如果加以表现，它们会在朦胧云雾中格外黯淡不明\n《潇湘卧游图》作者运用晕染模糊了山峦的轮廓，将界限融入轻雾之中。绵延的手卷以柔和纤细的线条、精致的细节和半透明的晕染绘制而成。笔触所现之处，或为表现如桥、舟之类细节的细如发丝的线条，或为湿润点染以表现树叶的墨点。\n南开大学文艺美学博士生王鹤《流失的国宝：世界著名博物馆的中国珍品》：“此画中群山连绵不绝，其景其情令人感叹。感叹其境美中蕴壮美，也感叹画家高超的技法。”\n《潇湘卧游图》存于日本已经超过一个世纪，即使作者并非有名的画家，实际身份背景也不明确，这一幅历经劫难的山水画，作为十二世纪末，从北宋迈入南宋，富有融合与转型意义的“潇湘”主题山水画代表作品之一，仍受美术史学者的重视。学者分别探讨过该画作的构图、笔法、水墨表现、形式风格等等面向。其中，铃木敬教授在1973年—1979年作过详尽研究；Valerie Malenfer Ortiz女士的专书以《潇湘卧游图》为主轴，全面讨论其在中国山水画创作及鉴赏的历史进程中所呈现的特殊价值。",[23,24,25,26,114,30,118,119,120,153,500,2808,7,504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3264c38a117918d8cc34daaa95c49552.jpg","纵30.2厘米，横399.4厘米",[],{"id":9633,"slug":9634,"title":9635,"dynasty":223,"author":7748,"museum":459,"description":9636,"tags":9637,"thumbUrl":9638,"material":179,"size":179,"collection":179,"collections":9639,"showCount":9613,"zanCount":928,"manualWeight":48,"mainColor":128},229034,"shan-shui-lou-ge-tu-ce-chen-mei-229034","山水楼阁图册","朱楹黄瓦的殿宇层叠错落，界笔勾勒工整流丽，台磴之上的小人三两，为深庭晕开细碎烟火。中景平湖如镜，枯木疏朗映于水面，板桥衔起村郭，行人缓步，将皇家苑囿的华贵揉进乡野清趣。\n\n远景山峦晕染如烟，似被流云轻裹，墨色由浓转淡，与天际融作一处。工笔重彩糅合浅绛晕染，明雅清润的设色下，殿宇的富丽与林泉的清逸相映成趣，将楼阁的精巧与山水的悠远调和得恰到好处，尽展清妍秀逸的幽隽意境。",[24,59,28,29,385,153,30,62,63,7,117,69,70,37,500,994,3630,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ebd3d8df34ba8b4cbd50100c696319.jpg",[],{"id":9641,"slug":9642,"title":7854,"dynasty":223,"author":381,"museum":459,"description":9643,"tags":9644,"thumbUrl":9645,"material":179,"size":179,"collection":179,"collections":9646,"showCount":9613,"zanCount":928,"manualWeight":48,"mainColor":128},228983,"tao-yuan-tu-shi-tao-228983","此作用淡墨晕染烟岚，赭石青绿轻敷山峦，留白铺展云气溪谷，村居错落隐于林麓溪畔，营造出幽谧空濛的世外丘壑。写意笔法脱略具象，点染之间将笔下山水化为可游可居之境。\n卷后题跋书法朴拙苍劲，题诗与绘境呼应，将武陵渔父误入桃源的悠然逸致娓娓道来，诗画交融无间。\n整作以淡远萧散的意境，寄寓着文人避世幽居的理想，把陶潜笔下的幻梦山水化为现实笔墨，尽显山水写意的诗性之美。",[24,25,26,28,30,114,118,243,37,138,35,7,156,64,502,3778,154,6027,206,500,3755,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],{"id":9648,"slug":9649,"title":9650,"dynasty":223,"author":381,"museum":459,"description":9651,"tags":9652,"thumbUrl":9653,"material":179,"size":179,"collection":179,"collections":9654,"showCount":9613,"zanCount":48,"manualWeight":48,"mainColor":49},224529,"zi-yun-jing-kai-yi-zhi-yan-shi-tao-224529","自云荆开一支眼","此作用开合之法排布丘壑，左右双峰雄峙，清溪自幽谷蜿蜒而出，层层铺展山水景深。笔法师法自然却不拘成法，方折勾勒山石轮廓，皴擦间带出苍厚质感，以赭石晕染岩面、花青点染林木苔痕，冷暖色调交织晕融，让雄奇山势裹着清润秀逸。\n\n谷间山居隐于林麓，暗合幽栖林下的野逸意趣，题识与画面相映成趣，诗画共生。笔墨纵恣灵变，摆脱摹古桎梏，以己心观照山水，将丘壑藏于笔底，尽显洒脱疏朗的性灵意趣，是借山川写胸臆的佳构。",[23,24,25,30,28,118,117,7,35,153,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d708bf201803287d6fb36b1c9262a54.jpg",[],{"id":9656,"slug":9657,"title":9658,"dynasty":18,"author":434,"museum":459,"description":9659,"tags":9660,"thumbUrl":9661,"material":179,"size":179,"collection":179,"collections":9662,"showCount":9613,"zanCount":928,"manualWeight":48,"mainColor":128},223668,"xue-shan-xing-qi-tu-ye-yi-ming-223668","雪山行骑图页","此作用淡墨晕染萧寒天色，以敷粉留白晕染山石积雪，遍铺清寂冷冽的冬日元气。琼峰素裹，梢顶微缀暖色苔点，打破素白单调。近岸丹枫凝红，暖色调破开漫天寒意，冷暖和融，愈显冬日山林的幽寂旷远。\n天际寒鸦数点，更衬天地空茫。溪岸小径之上，行旅策蹇徐行，身影渺小却点睛，将羁旅的萧索孤清缓缓铺陈，把冬日行役的荒寒况味藏于尺幅小景之中。笔意简淡清润，以小见大，尽显幽远冷隽的山水意趣，藏着细腻的冬旅体察。",[23,152,24,25,385,28,29,30,1080,90,61,7,2316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9779e57a11c43e5207a10113109fa36.jpg",[],{"id":9664,"slug":9665,"title":9666,"dynasty":18,"author":3371,"museum":167,"description":9667,"tags":9668,"thumbUrl":9669,"material":140,"size":9670,"collection":124,"collections":9671,"showCount":9613,"zanCount":48,"manualWeight":48,"mainColor":128},221187,"bing-zhu-ye-you-tu-ma-lin-221187","秉烛夜游图","朦胧的幽雾，伴随着鹅黄的月光，轻轻地降临人间。黝黑的短亭、长廊前，一朵朵犹如淡抹著胭脂、醉卧在绿沙中的海棠花们，深深地吸引着屋内主人的目光。他唤来了仆人，点起了蜡烛；在烛光映衬下，他满足地倚坐于亭内，望著这万重绰约如仙的红颜，看得都痴了。\n宋人爱花成痴的傻劲儿，是令人称奇，也令人称羡的。其中，又以素有「花中神仙」之称的海棠，最令宋人钟情、痴狂。海棠激发了宋人赏花的热情，不仅不分晴雨，也不分昼夜。古人燃烛夜赏芳华，或为牡丹，或为梅花；但能令宋人「只恐夜深花睡去，高烧银烛照红妆」的，却独独只有海棠。",[24,152,29,28,59,62,61,7,2316,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578e2ffd01bb31fc19a9ed719b2041d1.jpg","24.8 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水激流入江，屋舍茅亭、渔翁小舟、板桥雅士点缀其间。画面上云烟飘渺，草木华滋，笔法纵肆，神变万状，墨沈淋漓，苍茫浓郁，气韵生动。虽为仿米之作，却自具风貌。",[24,25,26,114,30,60,3767,37,7,117,204,116,64,500,674,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f59ad95d193c191833e0c060f6d0654.jpg","纵14．8厘米横247．2厘米",[],{"id":9726,"slug":9727,"title":9728,"dynasty":223,"author":5143,"museum":459,"description":9729,"tags":9730,"thumbUrl":9735,"material":179,"size":179,"collection":179,"collections":9736,"showCount":9704,"zanCount":928,"manualWeight":48,"mainColor":128},230145,"yang-zheng-tu-ce-quan-shi-ye-leng-mei-230145","养正图册全十页","《冷枚养正图册》是清代画家冷枚创作的一幅绢本设色画。\n《冷枚养正图册又称《圣功图》，是带有启蒙教育性质的作品，明清两代均有绘制。\n此套册页共1开，画面内容皆为历代贤明君主的故事。\n每开对题均有张若蔼书写对应故事情节的文字。\n两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。\n署款：“臣冷枚敬画。\n”钤“臣冷枚”印。\n此册虽为人物画，但作为背景的楼阁宫阙占有相当的比重，不难看出西方技法对画家的影响。\n建筑物的画法适当借用了 ，并力图在设色上用晕染的深浅表现构件的明暗关系，突出建筑的立体感。\n从作品整体看，构图、线条、色彩并没有摆脱明代画家仇英的设色界画系统，画面带有较多的装饰色彩和平面感觉，在表现建筑的体积感和建筑材料的质感上尚显不足。\n冷枚，生卒年不洋，约生活十公元17世纪后期至18世纪前期，字吉臣，号令门画史，胶州（今属山东）人。\n曾经跟随康熙时宫廷画家焦秉贞学俩，约丁康熙中期进入宫廷供职，直至乾隆七年尚在。\n擅长画人物、什女及山水，面风工整、细致，色彩较浓丽，具有装饰性。\n画法得力曲面写生，上中带写，白康熙到乾隆末，糅合中两技法之画风在画院内颇为盛行，而且影响到民间艺术，冷枚为此技弦之积极推行者。\n传世作品有《避馨山庄图》等。",[2244,24,415,4310,59,29,9731,9732,9733,358,7,119,9734],"晕染","历史故事画","贤君故事","启蒙教育","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99c5bbc18613ed7885de8cc288a9d11.jpg",[],{"id":9738,"slug":9739,"title":9740,"dynasty":223,"author":858,"museum":514,"description":859,"tags":9741,"thumbUrl":9742,"material":140,"size":869,"collection":179,"collections":9743,"showCount":9704,"zanCount":48,"manualWeight":48,"mainColor":128},230106,"hong-lou-meng-187-sun-wen-230106","红楼梦187",[24,25,29,28,61,62,70,269,7,591,9360,173,6763,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c40ad935649f53a2bfc48d53e55d45f.jpg",[],{"id":9745,"slug":9746,"title":1064,"dynasty":54,"author":55,"museum":459,"description":9747,"tags":9748,"thumbUrl":9749,"material":808,"size":809,"collection":179,"collections":9750,"showCount":9704,"zanCount":928,"manualWeight":48,"mainColor":128},228455,"du-le-yuan-tu-chou-ying-228455","《独乐园图》卷由明代仇英绘。画卷内容根据司马光的《独乐园记》立意，依次描绘了弄水轩、读书堂、钓鱼庵、种竹斋、采药圃、浇花亭、见山堂等景致。卷后拖尾接裱为文徵明书《独乐园记》《独乐园七咏》，苏东坡《独乐园诗》及项禹揆等人题跋。",[23,24,25,26,28,29,59,61,62,63,64,116,7,1665,117,70,173,345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1edf8089fe9785596584cae9f689ef.jpg",[],{"id":9752,"slug":9753,"title":9754,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":9755,"thumbUrl":9758,"material":808,"size":809,"collection":3244,"collections":9759,"showCount":9704,"zanCount":48,"manualWeight":48,"mainColor":49},225933,"gardeners-house-at-antibes-1888-mo-nai-225933","Gardeners House at Antibes, 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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,565,24,25,28,228,171,9787,9788,154,7,6454,2335,4075,411],"母鸡","小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg","150cmx40cm",[],{"id":9793,"slug":9794,"title":9795,"dynasty":223,"author":325,"museum":20,"description":9796,"tags":9797,"thumbUrl":9799,"material":40,"size":9800,"collection":331,"collections":9801,"showCount":9704,"zanCount":48,"manualWeight":48,"mainColor":49},222792,"jiao-yuan-mu-ma-tu-lang-shi-ning-222792","郊原牧马图","此画又称《八骏图》，画面上八匹骏马散放于郊外旷野之中，或卧，或立，或吃草，或嬉戏，自在悠闲，放牧者在树下休憩观望。放牧题材的画作不是对单匹马的写生，而是综合、融汇了各种马匹的形象，所以在创作过程中画家更能充分地发挥想象力，使马匹显得活泼自然、生动有趣。\n画家借助了西方追求如实表现物象体积感和立体感的绘画技巧，将马的各种姿态刻画得活灵活现，甚至连毛发的光泽也清晰地呈现在观者眼前，令人有呼之欲出之感，这是中国艺术史中以郎世宁为首的“海西画派”所独有的艺术风格。图中背景的树木、山石、花草全用明暗变化来表现形态，由此判断该画应是郎氏在雍正年间所创作，因为到了乾隆时期，在郎世宁的绘画中往往自己仅画出人物、鞍马，背景则由中国画家补绘。\n骏马是郎世宁作品中常见的绘制对象，他笔下的马匹真实生动，更重要的是他领会了马在中国传统文化中的象征意义。自古以来，马是社会贤良的象征，封建帝王命宫廷画家以马为题材进行创作寓意着尊重社会栋梁、求贤若渴的殷切希望。郎氏以“八骏”入画并非偶然，渊源有自。据传古代周穆王有八匹良骥，一说是绿耳、盗骊、白义、逾轮、山子、渠黄、华骝和赤骥（见《穆天子传》），另一说为绝地、翻羽、奔宵、超影、逾辉、超光、腾雾、挟翼（见《拾遗记》），周穆王曾经驾驭这八匹骏马遨游西方。于是，图写八骏亦有为君主歌功颂德、彰显威仪的含义。",[23,29,28,90,528,61,411,244,7,968,9798],"原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1bf9e7ff804c6db6e3bc52b86461389.jpg","纵51.2厘米，横166厘米",[331,45],{"id":9803,"slug":9804,"title":9805,"dynasty":223,"author":325,"museum":167,"description":3966,"tags":9806,"thumbUrl":9807,"material":415,"size":3970,"collection":124,"collections":9808,"showCount":9704,"zanCount":11,"manualWeight":48,"mainColor":128},222767,"shi-er-yue-ling-tu-8-yue-lang-shi-ning-222767","十二月令图（8月）",[23,24,25,29,28,59,61,62,7,117,70,116,591,173,3630,276,694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9d2819dab19c67c4bf7cfb5fc58f1a.jpg",[124,45],{"id":9810,"slug":9811,"title":9812,"dynasty":54,"author":7795,"museum":167,"description":9813,"tags":9814,"thumbUrl":9815,"material":122,"size":9816,"collection":103,"collections":9817,"showCount":9704,"zanCount":928,"manualWeight":48,"mainColor":128},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[23,24,25,202,114,28,118,153,30,761,1067,116,63,64,117,7,156,579,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[103,45],{"id":9819,"slug":9820,"title":9821,"dynasty":18,"author":9822,"museum":20,"description":9823,"tags":9824,"thumbUrl":9825,"material":40,"size":9826,"collection":42,"collections":9827,"showCount":9704,"zanCount":48,"manualWeight":48,"mainColor":49},221436,"jiang-shan-fang-mu-tu-juan-qi-xu-221436","江山放牧图卷","祁序","本幅无款，上有清高宗弘历御题五律诗一首。前隔水有金章宗完颜璟瘦金体书题签：“祁序江山放牧图”。清梁清标书签：“北宋祁序江山放牧图蕉林珍藏”。鉴藏印有金章宗“内殿珍玩”、“明昌”、“明昌宝玩”、“御府宝绘”；清耿昭忠“耿昭忠信公氏一字在良别号长白山长收藏书画印记”，梁清标“蕉林”、“观其大略”以及乾隆、嘉庆、宣统诸帝之玺。\n此图为平远式构图，取景开阔。图绘初春时节，牧童们在湖泽坡岸间牧牛的情景，是典型的宋代风俗小品画。作品表现了各种情态的牛，或低头饮水，或昂首举目，或扭身顾盼，或侧身前行，皆神态生动，富有情趣，显示出作者娴熟的笔墨技法和准确的造型能力。图中点景的树木具有宋人李唐刻画粗简的遗风，树干以粗线条勾勒轮廓，润墨皴擦，显现出苍健之态、虬曲之美；树叶用笔致细腻的夹叶法表现，中锋行笔，线条圆润工整，展现出树木丰润华滋之美。堤岸坡石的表现别具匠心，以曲折弯转的墨线勾边，再以石绿色晕染坡面，亮丽的色彩不仅丰富了画面的色调，也为全幅增添了万物复苏的春之气息。作者将悠闲惬意的牛与风和日丽的环境有机地融为一体，画面中洋溢着浓郁的乡土风情。\n此幅是祁序流存至今的唯一一件作品，原藏清宫内府，宣统年间为溥仪运出宫，存于长春的小白楼内，后为周觉民获得。1983年9月由周觉民之妻李倩玉捐献给故宫博物院。\n著录于清内府《石渠宝笈初编》。",[23,152,24,25,26,114,118,30,91,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7be5f835fcaeb89d01f42e584182ea.jpg","纵47.3厘米，横115.6厘米",[42],{"id":9829,"slug":9830,"title":4704,"dynasty":18,"author":2712,"museum":459,"description":9831,"tags":9832,"thumbUrl":9833,"material":28,"size":9834,"collection":42,"collections":9835,"showCount":9704,"zanCount":48,"manualWeight":48,"mainColor":49},221424,"shan-shui-tu-ye-yan-wen-gui-221424","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,152,24,25,385,28,118,30,7,69,66,500,661,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2cb4e910bceafecf67da9700705515.jpg","55×25",[42,124,103],{"id":9837,"slug":9838,"title":9839,"dynasty":223,"author":1533,"museum":20,"description":9840,"tags":9841,"thumbUrl":9842,"material":78,"size":9843,"collection":124,"collections":9844,"showCount":9704,"zanCount":48,"manualWeight":48,"mainColor":49},219220,"fang-da-chi-shan-shui-tu-wang-jian-219220","仿大痴山水图","此图沿“S”形的水路，绘一河两岸的景色，笔墨技法精湛，设色清丽脱俗，表现了江南山水沉郁深秀的自然气象。图中山石、树木勾染以仿大痴，即黄公望的画面为主，同时参法董源及唐初巨然的笔力，显现出王鉴晚年对古人笔墨融会贯通的掌控能力。",[23,152,24,25,202,28,30,64,117,7,60,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4bb0de74fcee4bbd39f292a92cc45.jpg","纵122.5厘米，横61.5厘米",[124],{"id":9846,"slug":9847,"title":9848,"dynasty":223,"author":2985,"museum":167,"description":9849,"tags":9850,"thumbUrl":9851,"material":303,"size":9852,"collection":124,"collections":9853,"showCount":9704,"zanCount":48,"manualWeight":48,"mainColor":128},218319,"fang-wang-meng-wan-die-fu-rong-tu-dong-bang-da-218319","仿王蒙万叠芙蓉图","董邦达为清代画家，在山水题材上造诣颇深。他具有双重身份，不仅为朝廷命官，而且是一位颇有才气的画家。作为官员的董邦达，一生可谓仕途通达，早年高中进士，身为朝廷命官，平日忙于公务，作画只是董邦达的业余爱好。然而，董邦达具有绘画的天赋，尤其擅长山水画，名噪一时。",[24,114,475,118,60,117,7,35,32,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1794d4956e0a07d2cd810a08d5a76fc0.jpg","纵133cm，横63.3cm",[124],{"id":9855,"slug":9856,"title":6024,"dynasty":54,"author":434,"museum":2805,"description":9857,"tags":9858,"thumbUrl":9859,"material":78,"size":9860,"collection":44,"collections":9861,"showCount":9704,"zanCount":48,"manualWeight":48,"mainColor":49},215036,"yu-fu-tu-yi-ming-215036","渔父图是明朝时期的一幅杂技图画。该图画描绘了一位渔夫和他的儿子在渔池里捕鱼的情景。这幅图画的画风简洁流畅，构图巧妙，笔触简练而富有力量。\n\n杂技图画是明朝时期流行的一种艺术形式，通常由多幅图画组成，每幅图画都描绘了一个故事或场景。杂技图画的特点是通过精细的线条和色彩描绘人物形象，并使用富有表现力的肢体语言和动作来讲述故事。\n\n渔父图是明朝时期著名的杂技图画之一，其中渔夫和他的儿子的形象鲜活生动，描绘了渔民勤劳的生活方式。这幅图画的画风鲜明独特，对后世产生了深远的影响。",[24,28,29,61,30,156,7,244,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f55a0d1c2d8e2093168ae785f5d24f.jpg","23x25.8cm",[44],{"id":9863,"slug":9864,"title":9865,"dynasty":223,"author":9866,"museum":423,"description":9867,"tags":9868,"thumbUrl":9869,"material":122,"size":179,"collection":179,"collections":9870,"showCount":9704,"zanCount":48,"manualWeight":48,"mainColor":128},214368,"tian-guang-yun-jing-tu-ce-zhu-da-214368","天光云景图册","朱耷","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《天光云景图册》也是收藏家们青睐的经典之作。",[23,24,25,385,114,30,7,35,289,156,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cfec1f032a3c376c5af72892319e611.jpg",[],{"id":9872,"slug":9873,"title":9874,"dynasty":620,"author":2876,"museum":459,"description":9875,"tags":9876,"thumbUrl":9878,"material":808,"size":809,"collection":179,"collections":9879,"showCount":9880,"zanCount":928,"manualWeight":48,"mainColor":128},287396,"shi-nv-yu-tu-tu-ye-zhou-wen-ju-287396","仕女玉兔图页","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[23,24,152,2895,29,28,9877,170,7062,62,7,59],"仕女画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a2c3d32ca970cdb9e4de407e67b73b.jpg",[],55,{"id":9882,"slug":9883,"title":9884,"dynasty":223,"author":1850,"museum":20,"description":9885,"tags":9886,"thumbUrl":9887,"material":40,"size":9888,"collection":179,"collections":9889,"showCount":9880,"zanCount":48,"manualWeight":48,"mainColor":49},234262,"si-xu-tu-juan-yao-wen-han-234262","四序图卷","此图卷描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同的享乐生活。布局巧妙，境界幽曲，将人物、山水、楼台亭阁、春夏秋冬的不同树木花卉及其景色容于一卷。精心刻划，形象生动，笔墨工细，赋彩随类，颇为自然。人物虽小，然曲尽各种姿态，形神俱备，景物虽繁，然疏密有度，为烘托人物的各种游乐活动而恰到好处。确是精心经营的佳作。\n姚文瀚，号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画，《石渠宝笈》著录其曾作《仿清明上河图》卷，文瀚于群工角艺之时，胸具别裁，画成缩本，乾隆喜而题诗并注：“此卷较择端原本尺幅纵横倍减，而临摹毕肖，人物益小，尤见精能。”尝画《梧阴清暇图》轴、《春朝婴戏图》轴、《岁朝欢喜图》轴、《观音像》轴、《文殊像》轴等。乾隆十七年（1752）尝作《仿宋人文会图》卷，二十六年（1761）作《紫光阁锡宴图》卷。\n传世作品有《四序图》卷，绢本，设色，描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同之悠闲生活、构思巧妙，意境幽曲，刻画细腻，形象生动，笔墨工整，设色典雅。此作人物虽小，然曲尽姿态，形神兼备，现藏故宫博物院。",[23,24,26,28,29,59,61,62,30,7,2193,73,70,117,676,2246,1044,69,694,345,5348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932487c9f43ccf74b8dc4bf3654f4db3.jpg","纵31．5厘米，横318厘米",[],{"id":9891,"slug":9892,"title":9893,"dynasty":54,"author":801,"museum":20,"description":9894,"tags":9895,"thumbUrl":9896,"material":936,"size":9897,"collection":179,"collections":9898,"showCount":9880,"zanCount":928,"manualWeight":48,"mainColor":128},233707,"you-ren-yan-zuo-tu-zhou-tang-yin-233707","幽人燕坐图轴","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。",[24,25,202,114,118,30,116,7,117,64,61,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5448d0d425ec0f6d6a2e9b1bd7bf7016.jpg","纵120.3厘米，横25.8厘米",[],{"id":9900,"slug":9901,"title":9902,"dynasty":133,"author":1837,"museum":56,"description":9903,"tags":9904,"thumbUrl":9906,"material":415,"size":9907,"collection":124,"collections":9908,"showCount":9880,"zanCount":928,"manualWeight":48,"mainColor":49},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[23,152,24,25,26,6073,28,29,61,90,64,7,4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出版。\n菊花书画卷(局部) 花卉山水人物册页四开 花卉册页二开 仿李觯册页四开 花卉(合作) 花卉山水册页五开 山水册页二开 山水 墨兰 水仙 梅花 碧霞元君祠图 拟沈周夏日山居图 北京风俗图册页三十四开 秋花奇石 墨荷 鬼趣图 钟馗读书图 达摩图 读画图 深山古寺 山林人家 仙鹤 岁寒清供图 深山秋烟 姚华小像 花卉四条 清供图 菊石图 山水册页四开 花卉四条 松树 听秋图 蔬笋 拟吴仲圭山水 群仙上寿图 山水 花鸟四屏 山水 仿沈周山水 山水 山水册页四开 忽见千帆 半山流泉 荷 芍药 些 芭蕉 花卉四屏 菊石 兰竹 仿石涛山水 鸡冠花 金壶细叶 携酒与鱼 梅花 兰石 梅竹双雀(合作) 佛手 赤壁图 山水 桃花 梅石 芭蕉菊花 腊梅秀石 山水长卷(合作) 花卉 山水册页 溪流浣衣 江乡秋获 山原行旅 村醪泥醉 雨洗铅华 空谷幽香 烟寒雨昏 老圃秋容 梅竹 月季花 花卉四条 秋园晚艳 桃花 绣球花 山林楼影 姜白石词意图册十二开 山水册页四开 山水诗画册页十六开 竹 写摩诘诗意 园林小景册页六开 山水册页二开 花卉山水册页十开 山水花果册页四开 枇杷 竹笋 杨诚斋诗意图册页六开 花卉册页八开 枇杷 秋柳图 达摩图 猴戏图(合作) 菊石 玉兰 墨笔山水 溪山松居图 山林静处 霜林红万山 山林深处 竹石 花红叶翠 附：常用印章 陈师曾年表",[24,25,385,28,114,30,62,156,2316,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f22ccc2a5c9017120af6648fb95f4bf.jpg",[],{"id":9934,"slug":9935,"title":9936,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":9937,"thumbUrl":9942,"material":808,"size":809,"collection":3244,"collections":9943,"showCount":9880,"zanCount":48,"manualWeight":48,"mainColor":49},225900,"arm-of-the-seine-near-giverny-1897-mo-nai-225900","Arm of the Seine near Giverny, 1897",[7526,3239,7527,9938,32,7,1290,9085,5404,1446,1191,9939,9940,9941],"色彩晕染","风景画","笔触灵动","色彩融合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ef1c853db62f89f884dbd4799f24f40.jpg",[3244],{"id":9945,"slug":9946,"title":9947,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":9948,"thumbUrl":9953,"material":808,"size":809,"collection":3244,"collections":9954,"showCount":9880,"zanCount":48,"manualWeight":48,"mainColor":49},225721,"boerderij-in-de-provence-fan-gao-225721","Boerderij in de 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“修竹林间爽致多，闲庭坦腹意如何。为书道德遗方士，留得风流一爱鹅。”\n画卷隐居题签为乾隆御笔：“钱选《观鹅图》真迹，内府御玩。”下钤“神品”、“御赏”二玺。在画卷引首部分书有“山阴逸兴”四字，上钤“乾隆御笔”玺。画心左上方有乾隆丙寅御笔诗：“墓高风有足多，独推书圣却云何。行云流水参神韵，笔阵传来只白鹅。”画心上部钤“稽古右文之玺”，上有“苍”字，与之配套的有内府五玺：“三希堂精鉴玺”， “宜了孙”、 “乾隆鉴赏”、 “乾隆御览之宝”与“石渠宝笈”玺",[23,24,25,26,28,29,120,153,30,61,116,1067,7,10073],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31301d79c761a30f82e35acb1616dd0c.jpg","23.2X92.7厘米",[],{"id":10078,"slug":10079,"title":10080,"dynasty":18,"author":3479,"museum":3752,"description":10081,"tags":10082,"thumbUrl":10083,"material":360,"size":10084,"collection":42,"collections":10085,"showCount":10024,"zanCount":48,"manualWeight":48,"mainColor":128},221503,"yuan-pu-gui-fan-tu-mu-xi-221503","远浦归帆图","《远浦归帆图》为《潇湘八景图》之一。“潇湘”这一意象在中国画中具有特殊的地位。“潇湘山水”的出现，或许是与宏大的帝国山水对立的，它具有更强烈的私人属性，属于性灵的山水篇章。潇湘山水并非是指今天的“潇湘洞庭”，而是泛指一种江湖的情调与雅趣。牧溪和尚以“潇湘”为旨，融禅理于画，可谓画中有禅，禅中有画。今读《远浦归帆图》，只为见本心。",[23,24,114,30,26,115,7,156,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1af47130223d09239906eae4799cb.jpg","32.5*112.7CM",[42,124,103],{"id":10087,"slug":10088,"title":10089,"dynasty":18,"author":198,"museum":56,"description":4084,"tags":10090,"thumbUrl":10091,"material":415,"size":4087,"collection":42,"collections":10092,"showCount":10024,"zanCount":48,"manualWeight":48,"mainColor":49},221392,"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷",[23,24,25,26,30,118,28,117,7,37,676,2869,206,1044,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg",[42,124,103],{"id":10094,"slug":10095,"title":10096,"dynasty":18,"author":10097,"museum":459,"description":10098,"tags":10099,"thumbUrl":10100,"material":140,"size":10101,"collection":42,"collections":10102,"showCount":10024,"zanCount":48,"manualWeight":48,"mainColor":128},221322,"shi-yong-tu-quan-juan-zhang-xian-221322","十咏图全卷","张先","此图是一幅山水人物画，画卷的开首部分便是吴兴南园一角，主体建筑为一座重檐歇山顶的楼阁，相配小亭栏杆回环曲折，花草树木掩映，庭中有鹤，亭角有花一株，环境幽雅而气象恢宏。楼阁内，马太守正陪二老对坐奕棋；小亭内，二老手扶栏杆，一面赏景一面闲话；另二老或携琴或曳杖，款款而来。此外有童仆衙役陪伴侍候。这是一次风流儒雅的集会，轻松愉快，表现出一派太平盛世的气氛。这一段表现了三首诗的内容，除前述一首之外，另有《庭鹤》、《玉蝴蝶花》二首。\n南园临水而建，湖对岸远渚汀洲，村庄茅舍，树木葱浓，群山耸翠，依次表现出《孤帆》、《宿清江小舍》、《归燕》、《闻砧》、《宿后陈庄偶书》、《送丁秀才赴举》、《贫女》七首诗的内容。\n张先的绘画作品，无论历史流传还是文献记载，仅此一幅。至于它的时代，从山石皴法及布置方法看，大体是北派山水的继承，属于荆浩、关同体系，而无李成、郭熙痕迹，更不入南宋格调，显然是北宋前期的风格。\n这件作品的文献价值一直受到前人的重视，它所记载的当时的文化活动及有关人物，都是唯一的现存第一手资料。陈振孙根据南园立石，对各种人物作了详细的笔录和考证。刻石在元代便毁灭了，颜尧焕的跋记录颇详。到今天，其画和所有的题跋，更弥足珍贵。\n此画原为清宫收藏，溥仪以赏溥杰的名义将画盗出宫廷，后携至长春。伪满政权覆灭时，此画被窃，此后50年中不知下落。\n1995年，在北京瀚海拍卖公司的拍卖会中此画才再度面世。故宫博物院根据徐邦达、启功、刘九庵等专家的建议，并得到国家文物局的批准，以1800万元竞价将此画购回，使这件国宝找到了它应有的归宿。国家文物局和故宫博物院用这么多的钱保护一件国宝，用启功先生的话说：“两个字，值得。”",[23,24,25,26,28,30,62,116,64,115,7,117,61,153,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43225b3fa18322ee72418abdc181ec0.jpg","画心纵52厘米，横125.4厘米",[42,124,103],{"id":10104,"slug":10105,"title":10106,"dynasty":18,"author":1894,"museum":167,"description":10107,"tags":10108,"thumbUrl":10109,"material":140,"size":10110,"collection":44,"collections":10111,"showCount":10024,"zanCount":48,"manualWeight":48,"mainColor":128},221201,"song-gao-zong-shu-xiao-jing-ma-he-zhi-hui-tu-ce-zhao-gou-221201","宋高宗书孝经马和之绘图册","圖冊原本應為圖文相連的長卷，後來因破損嚴重，改裝成書畫分開的冊頁形式。畫幅各藉不同場景，詮釋各階層人士盡孝及忠君的雙重意涵。圖文相輔，充分突顯了“為君主立言”的創作初衷。圖冊諸題跋均肯定《孝經》書法出自於宋高宗之手。畫幅風格則與馬和之全然不同，部分山石皴法反倒與李唐、蕭照較近。",[23,152,24,25,385,28,61,119,3586,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ba40826be74d19b5b9d115b4400475.jpg","40x88厘米",[44,45],{"id":10113,"slug":10114,"title":10115,"dynasty":133,"author":1837,"museum":167,"description":10116,"tags":10117,"thumbUrl":10118,"material":360,"size":10119,"collection":124,"collections":10120,"showCount":10024,"zanCount":48,"manualWeight":48,"mainColor":128},220889,"zhong-jiang-die-zhang-juan-zhao-meng-fu-220889","重江叠嶂卷","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。卷首仅存“嶂图”二字，余字残缺。",[24,25,26,114,118,30,1362,31,244,7,500,1474,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f892218196d47fd9afe5964f960f54.jpg","该幅28.4x176.4公分；隔水一 11.3公分；引首 28.4x123.3公分；隔水二 10.1公分；隔水三 10.1公分；拖尾 28.4x474公分",[124,103],{"id":10122,"slug":10123,"title":1178,"dynasty":133,"author":355,"museum":167,"description":10124,"tags":10125,"thumbUrl":10126,"material":360,"size":1182,"collection":124,"collections":10127,"showCount":10024,"zanCount":928,"manualWeight":48,"mainColor":128},220809,"shan-shui-zhou-wang-meng-220809","王蒙（1308-1385），元代著名画家，字叔明（一作叔铭），晚年居黄鹤山，号黄鹤山樵。又自称香光居士。王蒙是元初著名书画家赵孟頫的外甥，出身书画世家，曾一度任官。绘画主要师法董、巨，与倪瓒、黄公望、吴镇齐名并有交往，后人称“元四家”。",[23,24,25,202,114,118,30,117,7,64,63,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6dcb4762f048b8615a5bade13370e9.jpg",[124,103],{"id":10129,"slug":10130,"title":10131,"dynasty":133,"author":10132,"museum":167,"description":10133,"tags":10134,"thumbUrl":10136,"material":78,"size":10137,"collection":124,"collections":10138,"showCount":10024,"zanCount":928,"manualWeight":48,"mainColor":49},220239,"song-he-guan-quan-tu-ma-wan-220239","松壑观泉图","马琬","马琬，生卒年不详，元末画家。宇文璧，号鲁钝生，灌园人，秦淮（今江苏南京）人，元末客居松江（今属上海市）。少时就学于杨维祯。1370年（明太祖洪武三）官抚州知府。擅画山水，远法董源、巨然和米芾，近师黄公望，笔墨清润，构图密茂。颇负时誉。",[23,24,25,202,114,118,30,540,10135,117,116,7,206,153],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39cd60e15a5e9385b875c42233475d64.jpg","60.8x29.3公分",[124],{"id":10140,"slug":10141,"title":10142,"dynasty":54,"author":110,"museum":1202,"description":5869,"tags":10143,"thumbUrl":10144,"material":122,"size":5873,"collection":179,"collections":10145,"showCount":10024,"zanCount":48,"manualWeight":48,"mainColor":49},220012,"dong-zhuang-tu-ce-zhi-xi-xi-shen-zhou-220012","东庄图册之西溪",[23,24,30,114,118,385,1067,64,116,117,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffae0634223bab0bddda020aa4d2825f9.jpg",[],{"id":10147,"slug":10148,"title":10149,"dynasty":18,"author":1816,"museum":382,"description":10150,"tags":10151,"thumbUrl":10152,"material":78,"size":10153,"collection":42,"collections":10154,"showCount":10024,"zanCount":11,"manualWeight":48,"mainColor":49},219730,"chen-feng-tu-ma-he-zhi-219730","陈风图","陈国始封于西周初年，建都于今淮阳县，前后延续了500多年。该国以鸟为崇拜对象，简礼仪而重巫祠，其俗善歌舞，民风浪漫开放，这些都在《诗经·陈风》中得以体现。马和之创作的这组《陈风图》以浅显易懂的绘画语言解读了当时的文化与礼仪。《诗经》爱好者一定不能错过。马和之是南宋画家，为南宋宫廷画院中官品最高的画师，居御前画院十人之首。擅长人物、佛像、山水，其绘画风格与唐代吴道子相仿，人称“小吴生”。",[23,24,25,26,437,28,30,61,62,116,7,63,64,120,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F459c29b66cb238c23aa756f3463369ea.jpg","纵26.8、横731.5厘米",[42],{"id":10156,"slug":10157,"title":10158,"dynasty":18,"author":1816,"museum":167,"description":10159,"tags":10160,"thumbUrl":10161,"material":78,"size":10162,"collection":42,"collections":10163,"showCount":10024,"zanCount":48,"manualWeight":48,"mainColor":49},218866,"jiang-sheng-cao-ge-tu-ma-he-zhi-218866","江声草阁图","画中有一座建在悬壁上的亭子，瀑布流入河中，一棵松树拔地而起，一个学者靠在栅栏上看一颗飞星。",[23,24,152,28,29,30,62,7,156,4075,244,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2c1ff15b6b9c4fa6376a24609f2ff0.jpg","23.3x24.6",[42],{"id":10165,"slug":10166,"title":10167,"dynasty":18,"author":434,"museum":167,"description":10168,"tags":10169,"thumbUrl":10170,"material":303,"size":10171,"collection":42,"collections":10172,"showCount":10024,"zanCount":48,"manualWeight":48,"mainColor":49},218836,"shan-shui-xiao-jing-yi-ming-218836","山水小景","这幅画与米氏的《云雾山》不尽相同，因为它的裂纹较少，茄子状的点也少。这幅画并不完全相同，可能是来自大风堂张大千捐赠给台北故宫的一幅立轴画的上部。",[23,152,24,25,114,118,30,341,246,7,244,500,674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125522e300339c83e5781612e33c5b72.jpg","13.2x26.2",[42],{"id":10174,"slug":10175,"title":10176,"dynasty":54,"author":6680,"museum":20,"description":10177,"tags":10178,"thumbUrl":10179,"material":78,"size":10180,"collection":124,"collections":10181,"showCount":10024,"zanCount":48,"manualWeight":48,"mainColor":49},218760,"hong-nong-du-hu-tu-zhu-duan-218760","弘农渡虎图","此画构图奇突，场面壮观，景物与人物活动相辅相成，充满生趣。画法上看，其人物、马匹的线条简练，姿态土动。人物多承马远，用线顿挫。画树木，笔法曲折多顿挫变化，枝如鹰爪；画山石顿笔勾描，略施皴染，间用马、夏的斧劈皴和水墨渍染。天与水皆用淡墨晕染，烘托出了雪景。从此图的内容到形式来看，都体现了明代院体画的特色。",[23,24,25,202,28,29,118,61,90,4537,30,117,7,426,994],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886a91eebdb1ac1117494daf67ec29d6.jpg","纵174厘米，横113.6厘米",[124,44],{"id":10183,"slug":10184,"title":3176,"dynasty":18,"author":1865,"museum":2956,"description":10185,"tags":10186,"thumbUrl":10187,"material":303,"size":10188,"collection":124,"collections":10189,"showCount":10024,"zanCount":48,"manualWeight":48,"mainColor":128},218638,"yun-shan-tu-mi-you-ren-218638","画面以淡墨晕染出空濛烟霭，山峦在云雾间若隐若现，如幻如真。米点皴错落铺陈，墨色浓淡相间，既显山石肌理，又衬云气轻盈流动。近景树木简笔勾勒，与远处朦胧峰峦形成虚实对比，平远构图延展空间悠远感。水面留白与墨色交融，似有波光粼粼，更添清寂之韵。整幅画不重细节描摹，而以气韵生动取胜，将江南山水的湿润灵秀与文人闲适心境融为一体，尽显“米家山水”空灵淡远之美。",[24,25,114,30,118,37,31,7,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea101c3fbc9a743e0b8c3bb0bdac1ade.jpg","18.3x72.1",[124],{"id":10191,"slug":10192,"title":10193,"dynasty":18,"author":10194,"museum":2956,"description":10195,"tags":10196,"thumbUrl":10197,"material":78,"size":10198,"collection":124,"collections":10199,"showCount":10024,"zanCount":928,"manualWeight":48,"mainColor":128},218280,"feng-yu-shan-shui-tu-li-shan-218280","风雨山水图","李山","三条瀑布从画面右侧倾泻而下，与下方的岩石撞击出波浪，而左岸的松树形状奇特，树枝拍打着，似乎在跟随风向向右倾斜。一座桥横跨两岸，两个人和一头驴子在桥上逆风而行。",[23,24,25,30,578,579,118,28,3189,117,7,37,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f605ea64091fed8c0af258bb334556.jpg","24.1x24.8cm",[124],{"id":10201,"slug":10202,"title":599,"dynasty":54,"author":9142,"museum":423,"description":10203,"tags":10204,"thumbUrl":10205,"material":78,"size":10206,"collection":124,"collections":10207,"showCount":10024,"zanCount":48,"manualWeight":48,"mainColor":985},218098,"shan-shui-tu-li-zai-218098","明朝时期的画家李在是一位著名的山水画家。他的作品以其精细的写实技巧、恢弘的气势和自然的造型而闻名。\n\n李在的山水图以其鲜明的色彩和细腻的线条而著称。他善于运用笔墨勾勒出高山峻岭、秀美的林木、碧波荡漾的江河、以及蒙蒙细雨的天气。他的画作还经常加入人物、建筑和动物的元素，使得作品更具生动感。\n\n李在的山水画不仅具有艺术价值，而且在当时也被视为象征君权的艺术品。他的作品深受当时的皇帝和贵族的青睐，并在历史上留下了深远的影响。\n\n总之，李在是一位杰出的山水画家，他的作品以其精细的写实技巧和自然的造型而闻名，并在历史上留下了深远的影响。",[24,25,152,202,114,28,118,30,31,7,63,64,37,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f77a8ae01189e0f35aebdf3f3f1bb.jpg","138.8x83.2cm",[124],{"id":10209,"slug":10210,"title":10211,"dynasty":223,"author":10212,"museum":459,"description":10213,"tags":10214,"thumbUrl":10215,"material":179,"size":179,"collection":124,"collections":10216,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":128},238212,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238212","仿王翬山水册","曹夔音","曹夔音，清代乾隆年间的山水画家，字莪塍，号红椒道人，江苏江宁（南京）人，其生卒年月不详。据资料，知其曾在乾隆初年以御用画师身份供奉朝廷。期间，曹氏遵御旨摹仿了一批传统经典作品，最具水准也最受称道的，是仿赵黻《长江万里图》长卷。因其笔墨逼真，又弥补了原作残旧之憾，故甚为乾隆皇帝喜爱，成为“御览之宝”。此外，曹夔音还奉旨与金昆、张镐复制了王维《辋川图》，又与周鲲、姚文瀚等人临摹了丁云鹏罗汉手卷数卷。而曹氏所作《寒谷鸣泉》扇面画与背面乾隆御临王羲之法帖的成扇。",[152,24,25,385,114,118,30,62,63,64,7,117,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae9b3150b1bdefaa340be12a343409a0.jpg",[124,45],53,{"id":10219,"slug":10220,"title":10221,"dynasty":223,"author":10222,"museum":459,"description":10223,"tags":10224,"thumbUrl":10234,"material":179,"size":179,"collection":179,"collections":10235,"showCount":10217,"zanCount":928,"manualWeight":48,"mainColor":128},234599,"qing-lv-shan-shui-wan-shan-jiang-yun-234599","青绿山水纨扇","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒。",[24,25,2895,27,28,30,64,115,7,117,37,116,5957,10225,10226,10227,10228,10229,10230,10231,10232,10233],"设色山水","扇面画","传统国画","古典书画","山水景物","流水孤舟","云雾缭绕","山石树木","亭台建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9fc52f859f06ac6e06372c7f3cfa33.jpg",[],{"id":10237,"slug":10238,"title":10239,"dynasty":54,"author":2636,"museum":167,"description":10240,"tags":10241,"thumbUrl":10242,"material":360,"size":10243,"collection":179,"collections":10244,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":128},234187,"wen-zheng-ming-jiang-nan-chun-tu-bing-shu-ci-juan-wen-zheng-ming-234187","文徵明江南春图并书辞卷","本图纸本轴装，纵106厘米，横30厘米。文徵明（1470-1559）自题：“江南春”（八分书）；并书追和云林先生词二首（行草书）。此图成于嘉靖二十六年丁未春二月（1547），作者时年78岁，画中的图像，平远湖山，绿树高耸，高士乘舟横过，远处临水人家，这是江南太湖景色。",[23,24,26,25,120,114,30,7,117,35,63,64,156,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b1c1a838314382435f0ddc9dcfafa8.jpg","106.00×30.00cm",[],{"id":10246,"slug":10247,"title":1690,"dynasty":54,"author":110,"museum":20,"description":1691,"tags":10248,"thumbUrl":10249,"material":360,"size":1694,"collection":179,"collections":10250,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":128},234093,"wu-zhong-shan-shui-ce-shen-zhou-234093",[24,25,385,114,30,116,7,117,120,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8897142206a362f22c1dbeaf4b0aeea3.jpg",[],{"id":10252,"slug":10253,"title":10254,"dynasty":223,"author":381,"museum":20,"description":10255,"tags":10256,"thumbUrl":10257,"material":1218,"size":10258,"collection":179,"collections":10259,"showCount":10217,"zanCount":928,"manualWeight":48,"mainColor":128},233770,"tao-yuan-ming-shi-yi-tu-ce-shi-tao-233770","陶渊明诗意图册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[24,25,385,114,28,120,119,30,7,35,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21739288ecf9a96bf144d35e36186e18.jpg","纵27厘米，横21.3厘米",[],{"id":10261,"slug":10262,"title":10263,"dynasty":223,"author":1533,"museum":20,"description":10264,"tags":10265,"thumbUrl":10266,"material":8893,"size":10267,"collection":179,"collections":10268,"showCount":10217,"zanCount":928,"manualWeight":48,"mainColor":128},233403,"meng-jing-tu-zhou-wang-jian-233403","梦境图轴","本幅墨笔，局部设色，上自识一段，款：“丙申夏六月，哉生明王鉴识”。又“静岩老亲翁索画，即以此帧清政弟鉴”。钤“玄照”。\n王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[24,25,202,30,114,118,117,7,116,63,64,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26480f906c21c22bebed88bc4047ff5e.jpg","纵91.8cm，横49.5cm",[],{"id":10270,"slug":10271,"title":10272,"dynasty":620,"author":771,"museum":167,"description":10273,"tags":10274,"thumbUrl":10275,"material":555,"size":10276,"collection":124,"collections":10277,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":49},231050,"dong-tian-shan-tang-tu-dong-yuan-231050","洞天山堂图","《周凯画集》是 1998年出版的图书，作者是周凯。\n《周凯画集》为周凯画集，内容分为重彩丹青、浅绛水墨、书法三大部分。\n重彩丹青 1 秋瘤湖边 2 翠谷鸣泉 寺后小国 4 香港，永受嘉福 5 香港青马大橘 6 香港山顶缆车 7 山城 8 门神 9 喜盈盈 1 仰卧的女人体 11 卖水果人家 12 天下共此时一一深圳“世界之窗” 1 14 化生童子 15 五层塔 16 菩萨与罗汉 17 阁楼中的女孩 18 水乡市井 19 飞天 2 有井的圆楼 21 明王 22 围城 2 菩萨与伎乐 24 秋帆南下 25 树阴下的女人体 26 门外秋山 27 双龙与鳖 28 带水塔的山村 29 苍崖 幽谷轻绡 1 置庭园 2 蓝色的夜曲 丙寅二月 4 玄牝之灵 5 帝裔之乡 6 青绿山水 7 红色山水 8 深山萧寺 9 离堆 4 根 41 崖 浅绦水墨 42 屑屑山水秀 4 寒峰插天 44 峰峭余翠 45 明，陆治诗意 46 幽壑叠泉 47 魏·曹植游仙诗诗意长卷 48 清人诗意 49 扶桑轫暾 5 洞天神工 51 陶冶性灵 52 帖石防殴岸 5 蕉下读书图 54 束晋·庾阐观石鼓诗诗意手卷 55 云散峭峰 56 水村山郭（四季条幅之春） 57 前峰一夜两（四季条幅之夏） 58 秋来风雨知多少（四季条幅之秋） 59 暮景千山雪（四季条幅之冬） 6 君子之求 61 唐·柳宗元诗意 62 鹞 6 元·钱舜举诗意 64 林泉高致闽 65 烟岚圆 66 鶸冠花 67 临王蒙春山读书图 68 仿山水图 69 唐·刘长卿诗意 7 双矶圆 71 临董源洞天山堂图 72 水墨山水 7 临李唐万壑松风图 书法 74 唐·杜甫论诗七绝三首 75 唐·李白梦游天姥吟留别诗 76 画禅室随笔一则 77 南田论画一则 78 世说新语二则",[24,25,30,202,114,28,118,341,881,5871,761,7,116,1473,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a4de7bd1f0b9c7318084670f1579b8.jpg","183.2x121.2",[124],{"id":10279,"slug":10280,"title":10281,"dynasty":620,"author":2232,"museum":167,"description":10282,"tags":10283,"thumbUrl":10284,"material":555,"size":10285,"collection":124,"collections":10286,"showCount":10217,"zanCount":928,"manualWeight":48,"mainColor":49},226699,"xi-shan-lin-sou-tu-zhou-ju-ran-226699","溪山林薮图轴","本幅画群山溪壑，林树弥望，山石皴纹多以湿笔染破，明晦隐现，轮廓模糊，特饶山野烟霭之致。本幅无作者款印，依据旧签，定为巨然之作，然笔墨则与江参（活动于西元十二世纪初）较为近似。巨然（十世纪），南唐钟陵人，为开元寺僧。南唐亡（九七五年），随李后主煜降宋，至汴梁。工画山水，师事董源。善状烟岚景象，臻于妙境，与师齐名，并称董巨",[24,25,202,114,118,30,7,117,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaea97df204f97573ac4f38769fcb90c.jpg","221.3x119.7",[124],{"id":10288,"slug":10289,"title":10290,"dynasty":223,"author":3775,"museum":10291,"description":10292,"tags":10293,"thumbUrl":10295,"material":230,"size":10296,"collection":124,"collections":10297,"showCount":10217,"zanCount":928,"manualWeight":48,"mainColor":128},224495,"tao-fu-song-ju-tu-wu-li-224495","陶甫松菊图","中国国家博物馆","绘群山连绵，山峰高耸入云，山上松树成林，高大茂盛；山脚下房屋隐现，人影绰绰，泉水潺潺，秋景宜人。技法上，皴染浑穆，层峦叠障，气韵深沉。用笔纯用中锋，谨严厚朴，气魄雄厚。此图笔墨幽微，拟元代大画家王蒙的风格，有一种空幻的感觉，令人有悠然远隔尘嚣之想，巧妙地体现了陶圃主人陆廷灿的思想境界：在出世与入世之间。",[23,24,28,118,202,30,117,64,115,540,10294,116,7],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d825f00689d43da1412df9f4ac0c81e.jpg","纵178.68CM 横75.01CM",[124,103],{"id":10299,"slug":10300,"title":10301,"dynasty":223,"author":2792,"museum":459,"description":10302,"tags":10303,"thumbUrl":10304,"material":179,"size":179,"collection":179,"collections":10305,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":128},224445,"fang-wang-meng-shan-shui-wang-hui-224445","仿王蒙山水","此作用笔繁密苍厚，以解索皴堆叠山峦，积墨反复晕染，层岩叠嶂尽显郁茂深秀，得古贤山水苍茫沉雄之韵。下方山居临溪而筑，堂内文士围坐清谈，溪桥畔仆役缓步而行，林泉间动静相映，晕染出萧散野逸的幽居意趣。题诗佐于左上，笔墨文心相融，既循古意，又自含灵秀笔致，将林泉高致的雅逸山居图景铺陈开来，尽释传统山水里的文人幽怀。",[23,24,25,202,114,118,30,117,7,35,63,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7404689f6258b3af226d1aefaddbcb2.jpg",[],{"id":10307,"slug":10308,"title":10309,"dynasty":990,"author":434,"museum":10310,"description":10311,"tags":10312,"thumbUrl":10313,"material":140,"size":10314,"collection":179,"collections":10315,"showCount":10217,"zanCount":928,"manualWeight":48,"mainColor":49},223575,"mu-ma-tu-yi-ming-223575","牧马图","新疆维吾尔自治区博物馆","此画的主题是骏马和马伕，作者用刚劲柔韧的线条勾画了一匹骏马，此马膘肥体壮，那矫健的身影，有的线条所表现的挺劲的马腿，生动的墨色表现出拂动的马鬃和马尾，表现骏马刚柔相济的魅力，更强化了静中之动的魅力。",[23,24,28,29,61,90,156,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517c6668fc9d4ef9e4071361a4ccaf95.jpg","纵53．5厘米，横22．3厘米",[],{"id":10317,"slug":10318,"title":10319,"dynasty":54,"author":8650,"museum":167,"description":4171,"tags":10320,"thumbUrl":10321,"material":415,"size":10322,"collection":45,"collections":10323,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":128},222595,"xi-shan-qiu-se-tu-quan-juan-lan-ying-222595","溪山秋色图全卷",[23,24,25,26,28,30,118,120,153,7,500,32,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0d35e8af764e515efb05842ae219d1.jpg","27×183cm",[45],{"id":10325,"slug":10326,"title":3928,"dynasty":54,"author":10327,"museum":514,"description":10328,"tags":10329,"thumbUrl":10330,"material":140,"size":10331,"collection":124,"collections":10332,"showCount":10217,"zanCount":928,"manualWeight":48,"mainColor":49},222172,"shan-shui-tu-juan-ling-bi-zheng-222172","凌必正","凌必正，明朝时期人物，字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。",[23,24,26,28,118,29,30,116,63,64,62,7,117,35,73,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d833055d321b7858277278949b9816d.jpg","32X159厘米",[124,103],{"id":10334,"slug":10335,"title":10336,"dynasty":18,"author":550,"museum":20,"description":10337,"tags":10338,"thumbUrl":10339,"material":10340,"size":10341,"collection":179,"collections":10342,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":128},221581,"cai-wei-tu-juan-quan-juan-li-tang-221581","采薇图卷全卷","这是一幅历史题材的绘画作品，是以殷末伯夷、叔齐“不食周粟”的故事为题而画的。司马迁所著之《史记》中即有“伯夷列传”，伯夷和叔齐是殷的诸侯孤竹君（国在今河北卢龙南）的两个儿子，孤竹君立其三子叔齐为继承人。孤竹君死后，叔齐要把继承权让给哥哥伯夷，伯夷不肯接受，说这是父命，不可违背，最后逃跑了。叔齐见状也离家出走。兄弟二人出走后先后投奔了西伯姬昌（即周文王），不久姬昌死，儿子姬发（即周武王）要出兵讨伐纣王。伯夷、叔齐拦住姬发的马头谏阻，认为臣子造反讨伐君王是大逆不道的。武王伐纣取得胜利后，伯夷、叔齐深以为耻，表示决心不吃从周朝土地上长出来的粮食，于是逃隐至首阳山（在山西永济县境），采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首采薇歌：“登彼西山兮，采其薇矣！以暴易暴兮，不知其非矣！神农虞夏忽焉没兮，我安适归矣？于嗟徂兮，命之衰矣！”表示了坚决不屈服的志向。\n李唐所画的《采薇图》，即着力刻划了这两个古代宁死不愿意失去气节的人物。图中描绘伯夷、叔齐对坐在悬崖峭壁间的一块坡地上，伯夷双手抱膝，目光炯然，显得坚定沉着；叔齐则上身前倾，表示愿意相随。伯夷、叔齐均面容清癯，身体瘦弱，肉体上由于生活在野外和以野菜充饥而受到极大的折磨，但是在精神上却丝毫没有被困苦压倒。作者着墨不多，就把伯夷、叔齐在特定环境下的神态描绘得淋漓尽致，达到了很高的水平。\n李唐采用这个历史故事来表彰保持气节的人，谴责投降变节的行为，在当时南宋与金国对峙的时候，可谓是“借古讽今”，用心良苦。",[23,24,26,114,28,61,30,7,244,118,4163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f5d231ca2edb3f9d85a65a937277ec.jpg","绢本，水墨淡设色","纵27.2厘米，横90.5厘米",[],{"id":10344,"slug":10345,"title":10346,"dynasty":54,"author":955,"museum":167,"description":2617,"tags":10347,"thumbUrl":10348,"material":2620,"size":179,"collection":124,"collections":10349,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":128},220934,"fang-wang-meng-fang-dong-yuan-qiu-shan-xing-lv-tu-dong-qi-chang-220934","仿王蒙仿董源秋山行旅图",[24,25,30,114,118,60,28,117,7,62,63,64,426,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c15c82af0fc77e48f2b48d1c1ee14c.jpg",[124,103],{"id":10351,"slug":10352,"title":10353,"dynasty":54,"author":955,"museum":551,"description":10354,"tags":10355,"thumbUrl":10356,"material":506,"size":10357,"collection":124,"collections":10358,"showCount":10217,"zanCount":928,"manualWeight":48,"mainColor":128},220904,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220904","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[23,152,24,25,26,114,118,30,341,342,7,153,119,120,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d1f5b42426e5016ad5e6067a25246c5.jpg","28.3*206cm",[124,45],{"id":10360,"slug":10361,"title":10362,"dynasty":223,"author":10363,"museum":4819,"description":10364,"tags":10365,"thumbUrl":10366,"material":303,"size":10367,"collection":103,"collections":10368,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":128},220418,"fang-yao-shou-shan-shui-tu-xi-gang-220418","仿姚绶山水图","奚冈","此幅是奚铁生仿姚公绶所做山水图，布置可以看出是倪云林的一河两岸式构图，盖因录姚绶是学倪瓒，故铁生学姚氏，亦是学云林。",[23,24,114,118,25,30,116,7,540,117,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d17a8733a36b0f1f967ce40e437690.jpg","横36，纵124",[103,124],{"id":10370,"slug":10371,"title":10372,"dynasty":133,"author":10373,"museum":111,"description":10374,"tags":10375,"thumbUrl":10377,"material":303,"size":10378,"collection":103,"collections":10379,"showCount":10217,"zanCount":928,"manualWeight":48,"mainColor":49},220407,"bai-yun-shen-chu-tu-fang-cong-yi-220407","白云深处图","方从义","以水墨横点浓淡烘染峰峦重叠，写出了云烟掩映，风雨迷濛的江南景色。山峦、杂树以焦墨点染、益见秀润可爱。溪水小桥平添了江南平淡恬静的情趣，引人进入白云深处的佳境。",[24,114,118,30,4114,31,7,63,32,37,8506,10376,206,243,4810],"树木丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a430378f5317098ee833066a2ed7d.jpg","纵25.8厘米、横57.9厘米",[103],{"id":10381,"slug":10382,"title":10383,"dynasty":54,"author":8650,"museum":382,"description":10384,"tags":10385,"thumbUrl":10386,"material":78,"size":10387,"collection":124,"collections":10388,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":49},219739,"xue-xi-zai-he-tu-lan-ying-219739","雪溪载鹤图","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多",[23,24,25,30,28,118,747,206,115,1620,7,117,358,818,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[124],{"id":10390,"slug":10391,"title":10392,"dynasty":133,"author":10393,"museum":167,"description":10394,"tags":10395,"thumbUrl":10396,"material":78,"size":179,"collection":124,"collections":10397,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":128},219617,"song-jian-heng-qin-tu-zhu-de-run-219617","松涧横琴图","朱德润","画面中下部，是一条左低右高的石磵，且清且浅的河水自远及近蜿蜒跳跃而下，俞远愈淡。近岸左右有两松矗立，一直一曲，一高一低。左边的松树高而直，以一浓一淡两棵杂树副之。右边的松树似虬龙一样盘曲左伸，松下则是磵边开阔微斜的石头滩地，三位老者盘腿对坐在蒲团之上，中间有一盘食物，置三酒杯。一人双手放在琴上，眼睛左看，似正在弹琴并与左边的朋友目光交流，右边的老者则闭目笼袖，似乎听得很是入神。画面的右上角，署名“朱泽民”并有题句：峰阳之桐，声越冰泉；天然宫商，松风画弦。\n该画的人物、场景及构图，非常类似其立轴大画《林下鸣琴图》，似是一图多本。不过可能因画幅太小尚不盈尺，故而画得更为简洁，无法画出对岸的坡陀岗峦。就画中人物而言，这种扮相与组合曾出现在其他画中，显然就不仅仅是文人雅士简单的时尚风雅，而有着特定的时代的情感映射。或许，这既是“七匠八娼九儒十丐”历史境遇中被侮辱被边缘化的元代知识分子的实际生存状态，也是其理想化的精神家园。",[23,24,25,2895,114,118,30,540,64,61,806,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03fe743673cf85aafc314641bd35833e.jpg",[124],{"id":10399,"slug":10400,"title":10401,"dynasty":18,"author":2712,"museum":167,"description":10402,"tags":10403,"thumbUrl":10404,"material":78,"size":10405,"collection":124,"collections":10406,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":128},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[23,152,24,25,2895,114,28,118,30,64,115,5454,7,818,206,748,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[124,42],{"id":10408,"slug":10409,"title":599,"dynasty":18,"author":575,"museum":5034,"description":10410,"tags":10411,"thumbUrl":10412,"material":78,"size":10413,"collection":124,"collections":10414,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":49},218665,"shan-shui-tu-ma-yuan-218665","画面截取山水一角，以简练刚劲的斧劈皴勾勒山石轮廓，墨色层次分明，尽显山川肌理。远处亭台掩映于林木间，几人对坐似在品茗论道；中景水面开阔，波光隐现；近岸桥梁横跨，行人缓步，岸边石上二人闲坐，姿态悠然。人物虽小却形神兼备，与山水景致相融，传递出闲适雅致的文人意趣。马远以“边角”之景营造深远空间，笔墨简括却意境悠长，将自然静谧与人文悠然巧妙结合，尽显南宋山水画的抒情特质与艺术匠心。",[23,24,25,202,28,118,30,62,63,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82aa8fa0505c1342ef40c1af44517.jpg","36.4x19.2厘米",[124],{"id":10416,"slug":10417,"title":10418,"dynasty":54,"author":10419,"museum":20,"description":10420,"tags":10421,"thumbUrl":10422,"material":78,"size":10423,"collection":124,"collections":10424,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":49},218362,"fang-he-zhou-tu-xiang-sheng-mo-218362","放鹤洲图","项圣谟","此图是项圣谟为友人朱葵石所画的一件作品。放鹤洲在嘉兴鸳鸯湖畔，唐代著名宰相裴休曾在此建造别墅，但久已荒废。朱葵石在其遗址上疏浚河道，广植树木，重新再造。清顺治十年（1653年），朱葵石请项圣谟来别墅作客，他们泛舟湖上，饮酒赋诗，尽情享受林泉之乐，作品正是为纪念他们这一次相会而创作的。\u2028　　画面上，纵横交错的河道将田畴、村庄分割，农民往来耕作于其间，反映了长江下游低湿地带的风貌。画面左中部树木葱茏茂密，其间设置桥梁、屋宇、亭子、假山石和备用的画舫等，正是别墅所在地。画面左下端有寺庙宝塔，上端城墙蜿蜒，则是嘉兴城。别墅与周围的环境融为一体，布置讲究，而建筑并不炫耀豪华。项圣谟的这件作品不但写实，而且表现出中国文人崇尚自然，即“仁者乐山，智者乐水”的思想。",[23,24,30,28,114,118,7,156,115,63,64,116,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce80d46161a9b0729030988c27b5e0af.jpg","纵65.5厘米，横53.7厘米",[124],{"id":10426,"slug":10427,"title":10428,"dynasty":133,"author":434,"museum":10429,"description":10430,"tags":10431,"thumbUrl":10432,"material":78,"size":10433,"collection":124,"collections":10434,"showCount":10217,"zanCount":48,"manualWeight":48,"mainColor":49},215145,"xi-shan-lou-ge-tu-yi-ming-215145","溪山楼阁图","重庆市博物馆","溪山楼阁图是一幅中国古代山水画，作者佚名，来自元朝（1271-1368年）。这幅画以其精美的画风和丰富的山水景观而闻名，是一件珍贵的艺术瑰宝。\n\n在这幅画中，作者以逼真的笔触和精细的构图技巧，勾勒出了一座位于山谷中的楼阁。楼阁的四周环绕着秀美的山水景观，山峦起伏，溪流潺潺，树木葱茏，给人以清新的视觉享受。\n\n在这幅画中，作者还融入了许多寓意深刻的元素，如山间的松柏、荷花池塘、仙人掌等都被视为吉祥物，象征着幸福、长寿、繁荣等。\n\n总的来说，溪山楼阁图是一幅精美的山水画作品，充分展现了中国古代画家对自然美景的热爱和描绘技巧。",[152,24,28,59,27,30,62,7,64,117,37,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fc87bbefb1be97892e5282dfcc31c1.jpg","27.5x26.4cm",[124],{"id":10436,"slug":10437,"title":10438,"dynasty":18,"author":434,"museum":266,"description":10439,"tags":10440,"thumbUrl":10441,"material":78,"size":10442,"collection":124,"collections":10443,"showCount":10217,"zanCount":928,"manualWeight":48,"mainColor":49},214830,"fang-zhong-li-fang-dao-tu-yi-ming-214830","仿钟离访道图","《仿钟离访道图》是一幅中国古代绘画作品，出自宋代佚名画家之手。这幅画以钟离故事为题材，描绘了钟离访道的场景。\n\n钟离故事是中国古代传说中关于钟离与访道的传说。钟离是唐朝时期的一位大臣，他曾游历过中国各地，在旅途中遇到了访道，两人相识并成为了朋友。后来，钟离回到了唐朝的长安城，而访道则留在了西域。\n\n《仿钟离访道图》中，画家用笔墨细腻地描绘了钟离与访道之间的友谊，表现出了两人间的亲密关系。画面中的人物造型生动，情感真挚，是一幅优秀的古代绘画作品。",[23,24,25,202,114,118,30,243,7,204,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a819300efae18f7e468980bfeb46582.jpg","147x74.8",[124],{"id":10445,"slug":10446,"title":10447,"dynasty":54,"author":10448,"museum":266,"description":10449,"tags":10450,"thumbUrl":10451,"material":122,"size":10452,"collection":124,"collections":10453,"showCount":10217,"zanCount":928,"manualWeight":48,"mainColor":128},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[23,24,25,202,114,118,30,579,578,63,64,90,61,117,7,153,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[124],{"id":10455,"slug":10456,"title":10457,"dynasty":990,"author":991,"museum":459,"description":10458,"tags":10459,"thumbUrl":10460,"material":808,"size":809,"collection":179,"collections":10461,"showCount":10462,"zanCount":48,"manualWeight":48,"mainColor":49},290239,"wan-shan-ji-xue-tu-wang-wei-290239","万山积雪图","王维（701年—761年），字摩诘，号摩诘居士。河东蒲州（今山西永济）人，祖籍山西祁县。唐朝诗人、画家。\n王维出身河东王氏，于唐玄宗开元九年（721年）中进士第，为太乐丞。历官右拾遗、监察御史、河西节度使判官。天宝年间，拜吏部郎中、给事中。安禄山攻陷长安时，被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，世称“王右丞”。\n王维参禅悟理，精通诗书音画，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，因笃诚奉佛，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。著有《王右丞集》《画学秘诀》，存诗约400首。北宋苏轼评云：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”",[23,152,24,26,30,818,1080,64,7,116,118,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784f5c4fab22ae5e6ea7f75c69dcfa56.jpg",[],52,{"id":10464,"slug":10465,"title":10466,"dynasty":54,"author":955,"museum":459,"description":3846,"tags":10467,"thumbUrl":10468,"material":808,"size":809,"collection":179,"collections":10469,"showCount":10462,"zanCount":48,"manualWeight":48,"mainColor":128},283750,"xi-shan-yue-guan-tu-zhou-dong-qi-chang-283750","溪山樾馆图轴",[152,24,25,202,114,30,7,6014,117,118,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778662d1b02ed3453eaa167d51351294.jpg",[],{"id":10471,"slug":10472,"title":10473,"dynasty":223,"author":472,"museum":20,"description":10474,"tags":10475,"thumbUrl":10476,"material":936,"size":10477,"collection":124,"collections":10478,"showCount":10462,"zanCount":48,"manualWeight":48,"mainColor":128},237574,"song-he-gao-shi-tu-zhou-wang-shi-min-237574","松壑高士图轴","本幅款署：“松壑高士图。辛丑秋日为耿庵社长先生六十初度寿，弟王时敏。”钤“王时敏印”白文印，“西庐老人”、“西田”朱文印二方。鉴藏印有：“荫北鉴藏”、“壶中墨缘”、“莱臣心赏”、“虚斋审定”共四方。\n“辛丑”是清顺治十八年（1661年），王时敏时年70岁。\n据款题而知，此图是作者为祝好友金俊明（耿庵）60寿辰所作。因此，图中特别突出地表现了具有长寿寓意的峰峦和松柏，以此寄托其祝福友人“寿比南山”的美好意愿。图中山石、树木以娴熟的笔墨皴擦点染，于苍润浑厚中不失清幽秀雅，颇得董源、黄公望“平淡天真”的神韵，是王时敏晚年山水画的典型之作。",[24,114,202,30,118,540,31,204,64,1705,7,63,117,37,2043],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d169b622a802e787ceb891fe543c00.jpg","纵79厘米，横47.8厘米",[124,103],{"id":10480,"slug":10481,"title":10482,"dynasty":223,"author":4335,"museum":20,"description":10483,"tags":10484,"thumbUrl":10485,"material":360,"size":10486,"collection":124,"collections":10487,"showCount":10462,"zanCount":48,"manualWeight":48,"mainColor":128},236457,"nan-cun-cao-tang-tu-zhou-cha-shi-biao-236457","南村草堂图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,25,202,114,118,30,63,64,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e38e76e472e20cbb1711c4106bd889c.jpg","49cm×122.5cm",[124,103],{"id":10489,"slug":10490,"title":10491,"dynasty":223,"author":381,"museum":20,"description":10492,"tags":10493,"thumbUrl":10494,"material":506,"size":179,"collection":179,"collections":10495,"showCount":10462,"zanCount":928,"manualWeight":48,"mainColor":128},234145,"yuan-ji-shan-shui-ren-wu-tu-juan-shi-tao-234145","原济山水人物图卷","石涛（1630-1724），清初画家。法名原济，一作元济、道济。石涛本姓朱，名若极，字石涛，又号苦瓜和尚、大涤子、清湘陈人等，汉族，广西全州人，晚年定居扬州。明靖江王之后，出家为僧。半世云游，饱览名山大川，工诗文，善书画。所画山水，笔法恣肆，离奇苍古而又能细秀妥帖，画花卉也别有生趣。与弘仁、髡残、石涛、八大并称画坛“四僧”。\n出生于帝王胄裔，国破家亡之痛，感触尤深。但其出家更多只是一种政治姿态，这与渐江的“受性偏孤”不同，石涛性格中充满“动”而身处佛门心向红尘。康熙南巡时，石涛曾两次接驾，主动进京交结达官显贵，企图出人头地，但权贵们仅将其当作一名会画画的和尚，并未与之计较，故而功败垂成。因此其在清高自许与不甘岑寂之间矛盾地渡过了一生，但他巧妙地把这种矛盾发泄到画作之中，使作品纵横排闼、闪转腾挪，充满了动感与张力，这也正是其异于常人的高明之处。\n石涛具有创新才能且创作题材广泛，为一多产画家。他的表现手法富于变化，又能将独特、和谐统一为自己的风格特色。一生游历过广西、江西、湖北、安徽、浙江、江苏和北京等地，在自然的真实感受和探索中加以对前人技法长处的融会。对绘画创作强调“师法自然”，把绘画创作和审美体系构成为“借笔墨以写天地而陶泳乎我也”。石涛的画似有一种超凡脱俗的意境，无论是山水、人物、还是花卉、走兽都有很高的艺术成就，“搜尽奇峰打草稿”是其绘画艺术取得成功的重要关键。\n擅山水，兼工兰竹。山水不局限于师承某家某派，而广泛师法历代画家之长，将传统的笔墨技法加以变化，又注重师法造化，从大自然吸取创作源泉，并完善表现技法。作品笔法流畅凝重，松柔秀拙，尤长于点苔，密密麻麻，劈头盖面，丰富多彩；用墨浓淡干湿，或笔简墨淡，或浓重滋润，酣畅淋漓，极尽变化；构图新奇，或全景式场面宏阔，或局部特写，景物突出，变幻无穷。尤其善用“截取法”以特写之景传达深邃之境，无论是黄山云烟，江南水墨，还是悬崖峭壁，枯树寒鸦，或平远、深远、高远之景，均力求布局新奇、意境翻新。画风新颖奇异、苍劲恣肆、纵横排奡、生意盎然。\n其作花鸟、兰竹亦不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。花鸟继承徐渭等人的大写意花鸟传统，并自探“灵苗”，以天骨开张的艺术魅力表现其对生命与自然的热爱。作花卉墨竹，纵横肆意，于无法中有法，直抒性灵，并讲求诗意与绘画的结合生发，开拓了作品的意蕴。\n代表作品有《泼墨山水卷》、《山水清音图》、《苦瓜和尚妙谛册》等。著有《苦瓜和尚画语录》，以“一画”的命题把山水画理论提高到哲理的高度。",[23,24,26,114,118,120,437,30,61,115,117,7,528,540,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b8c89ebfd89cb31b396bff027a9532.jpg",[],{"id":10497,"slug":10498,"title":10499,"dynasty":54,"author":55,"museum":20,"description":10500,"tags":10501,"thumbUrl":10502,"material":40,"size":10503,"collection":179,"collections":10504,"showCount":10462,"zanCount":11,"manualWeight":48,"mainColor":49},233416,"tao-cun-cao-tang-tu-zhou-chou-ying-233416","桃村草堂图轴","自题：“仇实父为少岳先生制”，钤“十洲”朱文葫芦形印。此图是仇英师承南宋“二赵”风格的作品，描绘的是幽深静逸的隐居环境。草堂位于山坳，其后桃林一片，溪流出其下，一童子踞溪侧洗砚。更上则高岭白云，丛树列布，意境幽深。画作富有诗意，画法精细工谨，细致入微。通幅大青绿着色，色彩艳丽深重。方薰在《山静居论画》中说：“设色不以深浅为难，难于色彩相合，合则神气生动。”此图将滴翠的石绿、秀雅的淡赭、温润的墨色自然和谐地统一在一起，具有一种雅俗共赏的艺术效果。此图为仇英青绿山水画的代表作之一。\n据徐石雪题跋考证，画中主人公为项元淇。仇英此图是应项元淇之约而作。项元淇，字子瞻，号少岳。工诗文，善草书，著名收藏家项元汴之兄。图中项氏襟带飘然，风度高雅，四周环境清幽，景色宜人，宛如人间仙境。裱边有董其昌、昆虔、徐宗浩题跋。经清内府收藏，后为徐石雪所得。",[24,202,29,28,27,30,7,116,64,63,61,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b542990eb17d240c9f1d39023cb377.jpg","纵150厘米，横53厘米",[],{"id":10506,"slug":10507,"title":10508,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":10509,"thumbUrl":10517,"material":808,"size":809,"collection":3244,"collections":10518,"showCount":10462,"zanCount":48,"manualWeight":48,"mainColor":49},225719,"bloembedden-in-holland-fan-gao-225719","Bloembedden in 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进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,25,26,28,29,114,30,61,115,64,7,90,2868,4848,579,116,426,2395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],{"id":10644,"slug":10645,"title":1690,"dynasty":54,"author":110,"museum":20,"description":1691,"tags":10646,"thumbUrl":10647,"material":360,"size":1694,"collection":179,"collections":10648,"showCount":10620,"zanCount":48,"manualWeight":48,"mainColor":128},234094,"wu-zhong-shan-shui-ce-shen-zhou-234094",[24,25,385,114,30,120,153,118,119,63,64,7,341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281cd9bcebb3bee363a0e64bf0753972.jpg",[],{"id":10650,"slug":10651,"title":10652,"dynasty":133,"author":636,"museum":167,"description":10653,"tags":10654,"thumbUrl":10655,"material":10656,"size":10657,"collection":179,"collections":10658,"showCount":10620,"zanCount":11,"manualWeight":48,"mainColor":49},231333,"zhong-shan-tu-yuan-dai-ji-jin-zhi-si-wu-zhen-231333","中山图-元代集锦之四","《中山图》绘逶迤起伏的层峦迭嶂。画家以淡墨皴染群山，浓墨画丛树点苔，勾皴时见乾笔，笔墨雄浑厚重。\n吴镇的艺术精髓在这副平淡无比的画作中体现无遗，《中山图》平铺直叙的描绘了再平凡不过的景象：七座山头大致左右对称簇拥一座主峰，即画题中的“中山”。较高大的山峰全都是特殊的平顶圆锥形，侧面微微隆起，这是吴镇绘画典型的造型。这几座山峰周边散布着山峦丘陵起起伏伏，一如荡漾的波浪；无论大小浓淡全都只有几种简单的形状；山峦没有真正的远近之别。谷间的树木被描绘得相当大，还有山头上灌木丛，几座山峰相形之下也显得不那么高峻。\n画中没有溪流、瀑布、人物、屋宇，甚至小径等等点缀。画面也没有表现任何能够显示季节和气候的特征，更没有云雾这种“通山川之气”的物象可以暗示流动或变化，全画沉浸在一种永恒的沉寂之中。即使在元代绘画之中也很难找到另外一幅画比《中山图》更显平静的。画中疏朗闲放的笔法，反复出现的简单物象在视觉上安抚镇定的效果，充分体现了平淡的境界。",[24,25,114,30,118,341,246,7,540,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa75ab4b46854a6856c1d08010e0d4333.jpg","纸本 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Monet",[7526,3239,10664,9938,10665,10666,411,7,463,5404,8252,8253,10667,10668,9941],"光影捕捉","笔触轻快","玫瑰","户外景致","自然光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99235da26b7da38ff6b2e94c739a94b7.jpg",[3244],{"id":10672,"slug":10673,"title":10674,"dynasty":223,"author":381,"museum":459,"description":10675,"tags":10676,"thumbUrl":10677,"material":179,"size":179,"collection":179,"collections":10678,"showCount":10620,"zanCount":467,"manualWeight":48,"mainColor":128},224521,"shan-shui-tu-ce-8-kai-7-shi-tao-224521","山水图册8开-7","此作以高远之法取景，陡崖奇崛凌霄，枯笔皴擦写出山石嶙峋肌理，勾勒出峭拔苍劲的山势。崖畔林麓隐着古寺，山道间策杖行旅徐行，松下石台点缀幽境，留白处淡墨晕染云海，虚实相生，漾出空山幽寂之韵。\n\n笔墨干湿互用，松针勾勒劲挺老辣，题款小字清隽雅致，朱红印章点染提亮，既有黄山风骨，又自具萧散疏朗的文人意趣，将天地浩渺与林泉幽怀相融，藏着以造化为师的灵思，尽显山水间悠然淡远的禅意。",[23,152,24,25,385,114,28,118,30,61,7,117,37,62,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a6020bb641d0c028408138c6b6de59.jpg",[],{"id":10680,"slug":10681,"title":10682,"dynasty":54,"author":434,"museum":167,"description":10683,"tags":10684,"thumbUrl":10685,"material":415,"size":10686,"collection":179,"collections":10687,"showCount":10620,"zanCount":928,"manualWeight":48,"mainColor":49},223375,"chu-jing-tu-yi-ming-223375","出警图","此卷全本共两件，《出警图》和《入跸图》，皇帝出京称出警，回京称入跸。此图卷描绘明世宗由陆路谒陵的情景。庞大的皇家谒陵队伍，由北京城得胜门出发，画家沿途舖设，盛大的卫仪阵容，直至皇帝谒陵的目的地。",[23,24,25,26,28,29,61,90,30,7,1420,2919,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba7555859181efb34e956d465f1006b.jpg","92.1×2601.3cm",[],{"id":10689,"slug":10690,"title":10691,"dynasty":54,"author":3786,"museum":167,"description":10692,"tags":10693,"thumbUrl":10695,"material":230,"size":10696,"collection":124,"collections":10697,"showCount":10620,"zanCount":928,"manualWeight":48,"mainColor":49},222175,"tian-chi-shi-bi-zhou-lu-zhi-222175","天池石壁轴","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,24,202,475,28,118,10694,31,7,540,676,2715,117,37,153],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd07d9dc6fb51d4ebd3729366331c84f8.jpg","本幅 70.6x30.3公分、全幅 44.5公分",[124,103],{"id":10699,"slug":10700,"title":10701,"dynasty":18,"author":2052,"museum":167,"description":10702,"tags":10703,"thumbUrl":10705,"material":316,"size":10706,"collection":42,"collections":10707,"showCount":10620,"zanCount":48,"manualWeight":48,"mainColor":49},221489,"yue-ye-kan-chao-tu-li-song-221489","月夜看潮图","这幅「月夜看潮」图，所画即南宋时临安(今浙江杭州)中秋夜观海潮的情形。高悬的明月下，浪潮卷涌成一直线地奔驰而来;江畔华美的平台阁楼上，隐约可见有人穿梭、呼指着。整个画面没有拥塞的车水马龙、也没有激情喧闹的人海，取而代之的是远山江帆、月影银涛，一幕祥和而又没有纷扰的景致。",[23,24,28,59,30,62,115,2316,7,10704,153],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe131ee4ef3a1bf68a965799b0b4a1826.jpg","纵22.3厘米，横22厘米",[42,124,45],{"id":10709,"slug":10710,"title":6479,"dynasty":223,"author":472,"museum":20,"description":10711,"tags":10712,"thumbUrl":10713,"material":360,"size":10714,"collection":124,"collections":10715,"showCount":10620,"zanCount":48,"manualWeight":48,"mainColor":128},220349,"shan-shui-tu-zhou-wang-shi-min-220349","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[24,25,202,114,118,30,341,342,7,35,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a2667da6534125cad061d2aa34ff5d.jpg","纵135厘米,横63厘米",[124],{"id":10717,"slug":10718,"title":10719,"dynasty":223,"author":10720,"museum":514,"description":10721,"tags":10722,"thumbUrl":10723,"material":555,"size":10724,"collection":124,"collections":10725,"showCount":10620,"zanCount":48,"manualWeight":48,"mainColor":49},220032,"jiang-lou-fang-you-tu-wu-hong-220032","江楼访友图","吴宏","此幅吴远度云是仿北宋初李成画法，实则借名而已，皴法已带唐伯虎乱柴皴法度，构图渲染全是金陵画派作风，然江天开阔，渔隐互答，远度此幅尤允佳品。",[23,24,25,475,202,28,118,62,63,64,115,7,117,35,66,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaaf4122119ceb7d3d07d79758a578d.jpg","78.63*160.6cm",[124],{"id":10727,"slug":10728,"title":10729,"dynasty":223,"author":434,"museum":423,"description":10730,"tags":10731,"thumbUrl":10733,"material":78,"size":10734,"collection":44,"collections":10735,"showCount":10620,"zanCount":666,"manualWeight":48,"mainColor":49},219453,"yuan-ren-qiu-lie-tu-yi-ming-219453","元人秋猎图","描绘了北方少数民族在高山密林间行军、围猎、休憩、露营的情形。\n画卷以人物活动为主线，山水树石作为场景铺垫，既是人物活动展开的背景，又形成各段情节之间的自然间隔和过渡。十二米的长卷中场面宏大，情景众多，共画有七百余人，人物身份不一，有的衣饰华贵，气宇轩昂，被众人簇拥，俨然王族之相。多数是兵将勇士之属，其中甚至还有女兵的身影。\n此卷布局繁密有序，山峦错落，画面是静止和片段性的，而人物活动则有一定的时间性和延续性，如何将二者结合就很考验画家的创作能力了。表现带有情节性和故事性的山水人物，中国传统绘画的惯用手段就是利用长卷的形式，画卷的展开赋予画面一种流动性，画中人物的活动随观赏者的目光而移动，时间的维度就在不知不觉中展开了。",[23,24,26,28,29,61,90,30,7,412,10732,2869,1855],"狩猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edf607c039286a054fe9cb75697a771.jpg","纵59厘米，横1240厘米",[44,124],{"id":10737,"slug":10738,"title":2291,"dynasty":3235,"author":7583,"museum":551,"description":10739,"tags":10740,"thumbUrl":10741,"material":140,"size":179,"collection":124,"collections":10742,"showCount":10620,"zanCount":48,"manualWeight":48,"mainColor":49},219238,"shan-shi-qing-lan-tu-chao-xian-yi-ming-219238","晴岚如纱轻覆烟水，远山黛影隐入云间。近岸巉岩错落，古木虬枝斜出，屋宇依林泉而建，似有清寂烟火漫出枝叶。水面波光微漾，几叶扁舟缓行，桨声随雾霭飘散。笔墨细腻处，山石肌理分明；淡染之间，云雾流动如活。山水的旷远与人间的宁和交织，空灵中透着温润，读之如临幽境，心随画中烟水沉静下来。",[23,24,475,118,28,30,62,63,64,115,117,7,116,500,37,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9e5d65eb51248a44011e70f9c087ce.jpg",[124],{"id":10744,"slug":10745,"title":10746,"dynasty":18,"author":2712,"museum":167,"description":10747,"tags":10748,"thumbUrl":10749,"material":78,"size":10750,"collection":124,"collections":10751,"showCount":10620,"zanCount":928,"manualWeight":48,"mainColor":49},218880,"fang-dai-tu-yan-wen-gui-218880","访戴图","在这幅画中，雪白的溪水无声无息，戴逵的另一处房屋隐藏在溪水边的树林中。",[23,152,24,114,28,118,475,30,7,994,35,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40533f611ebb8113ef7135e83a646b99.jpg","22.1x24.6",[124],{"id":10753,"slug":10754,"title":10755,"dynasty":18,"author":434,"museum":111,"description":10756,"tags":10757,"thumbUrl":10758,"material":78,"size":10759,"collection":44,"collections":10760,"showCount":10620,"zanCount":11,"manualWeight":48,"mainColor":49},218588,"ren-wu-gu-shi-tu-juan-ying-luan-tu-yi-ming-218588","人物故事图卷（迎銮图）","南宋佚名作家所作的《迎銮图》是一幅以描绘历史事件为选材的作品。这幅现藏于上海博物馆的作品，表现了南宋抗金战争中的一件重要历史事件——韦后南归。",[23,24,152,25,26,28,29,61,90,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8a11479e4109b860eb40b23814c4d0.jpg","横142.2厘米，纵26.7厘米",[44],{"id":10762,"slug":10763,"title":10764,"dynasty":18,"author":10765,"museum":5034,"description":10766,"tags":10767,"thumbUrl":10768,"material":78,"size":179,"collection":124,"collections":10769,"showCount":10620,"zanCount":928,"manualWeight":48,"mainColor":985},218234,"qiu-dong-shan-shui-tu-yan-ci-ping-218234","秋冬山水图","阎次平","墨痕流转间，铺展秋冬清旷之境。近坡古木虬枝，皴擦如老鳞，凝着霜天寒意；中渚水面空濛，一叶孤舟静卧，添了几分寂寥；远山淡抹如烟，隐入云霭，层叠间藏着深远。笔墨简劲却意韵悠长，线条勾勒刚柔相济，墨色晕染浓淡相宜。枯木枝桠横斜，似在风中低语；山石错落，尽显苍劲肌理。秋冬交替的荒寒之美与静谧之趣悄然融合，尽显宋画山水的雅致深邃，引人沉入那片烟水茫茫的悠远意境里。",[152,24,25,202,114,118,30,7,117,115,156,578,579,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfcc4b8c4cb176ad1d96d67695e9810.jpg",[124],{"id":10771,"slug":10772,"title":10773,"dynasty":54,"author":10774,"museum":423,"description":10775,"tags":10776,"thumbUr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，局部淡设色",[],{"id":10823,"slug":10824,"title":10825,"dynasty":54,"author":801,"museum":1110,"description":10826,"tags":10827,"thumbUrl":10828,"material":360,"size":10829,"collection":179,"collections":10830,"showCount":10788,"zanCount":928,"manualWeight":48,"mainColor":49},231837,"qi-feng-gao-yin-tu-tang-yin-231837","奇峰高隐图","弘治十年（1497年），唐寅参加录科考试期间与好友张灵宿妓喝酒，放浪形骸。提学御史方志十分厌恶这种行径，唐寅在录科考试中名落孙山。苏州知府曹凤爱惜人才，为唐寅求情，方志录于榜末。注：方志，字信之，成化二十三年进士。 弘治十一年（1498年），唐寅中应天府乡试第一，在他的《领解元后谢主司》一诗之中写道：壮心未肯逐樵渔，秦运咸思备扫除。剑责百金方折阅，玉遭三黜忽沽诸。红绫敢望明年饼，黄绢深惭此日书。三策举场非古赋，上天何以得吹嘘。唐寅作《送文温州序》和《金粉福地赋》。 弘治十二年（1499年），唐寅与江阴徐经入京参加会试，因牵连徐经科场案下狱，后被罢黜为吏。 弘治十三年（1500年），唐寅被罢黜为浙藩小吏，个人深以为耻坚决不去就职。唐寅归家后夫妻失和，休妻。",[23,24,25,202,28,118,30,31,63,64,7,117,204,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24db9aed0cc0e34002c0bec4c6d5e69f.jpg","75x56",[],{"id":10832,"slug":10833,"title":2654,"dynasty":18,"author":239,"museum":459,"description":10834,"tags":10835,"thumbUrl":10836,"material":179,"size":179,"collection":179,"collections":10837,"showCount":10788,"zanCount":928,"manualWeight":48,"mainColor":49},228400,"shu-shan-zhan-dao-tu-guo-xi-228400","此作以全景铺展蜀中山川，层峦叠嶂氤氲在淡墨轻岚之中，岩壁苍劲厚重，林木蓊郁苍润。栈道盘桓于幽谷险峰之间，山坳间村舍山居错落，行旅、舟桥点缀其间，将蜀道的奇崛险峻与山野烟火相融。\n画师以温润秀劲的笔墨，兼工带写晕染山石肌理，赭石敷色古雅沉静，以高远、平远交替的章法，尽显山川宏阔清旷的苍莽意境，将蜀地山水的雄秀灵奇和行旅幽情完美相合，尽显全景山水的雄浑雅致。",[23,4253,24,25,26,30,28,118,243,244,213,7,35,36,61,2079,206,4638,1044,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce8e773a25ce85e5e2190d4006eead8.jpg",[],{"id":10839,"slug":10840,"title":10841,"dynasty":133,"author":10842,"museum":459,"description":10843,"tags":10844,"thumbUrl":10845,"material":179,"size":179,"collection":179,"collections":10846,"showCount":10788,"zanCount":928,"manualWeight":48,"mainColor":49},228035,"shan-shui-hua-ce-12-ye-guan-dao-sheng-228035","山水画册12页","管道升","此作以水墨晕染铺就烟岚浮动的幽寂之境，山峦隐现于流云薄雾之间，虚实相生，似有若无，将江南山水的氤氲柔婉尽数铺陈。坡岸修竹清挺秀逸，枝叶以细劲墨线勾勒，在朦胧烟霭中愈见清雅灵秀，与淡墨晕开的云山相映成趣。\n\n全画舍去繁复皴法，以淡墨烘染出云雾流荡之态，留白与晕染交织，令观者仿若身临幽寂空茫的山林，听溪声、沐烟霞，尽显元画尚意的审美意趣，于尺幅间藏万千丘壑，将文人画简淡空灵的意境抒发得淋漓尽致。",[24,25,385,114,118,30,1067,117,64,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fa9d27742c0b2b8d4e4c85f9f39255.jpg",[],{"id":10848,"slug":10849,"title":10850,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":10851,"thumbUrl":10856,"material":808,"size":809,"collection":3244,"collections":10857,"showCount":10788,"zanCount":928,"manualWeight":48,"mainColor":49},225844,"the-harvest-june-fan-gao-225844","The harvest (June - )",[3239,3240,6957,10852,10853,6958,5232,500,5404,5371,7,8068,10854,3148,5405,35,10855],"麦田","收获场景","农民","作物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f6054f82c98bf41a6f35ab5e3ee208.jpg",[3244],{"id":10859,"slug":10860,"title":10861,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":10862,"thumbUrl":10865,"material":808,"size":809,"collection":3244,"collections":10866,"showCount":10788,"zanCount":48,"manualWeight":48,"mainColor":49},225731,"corn-harvest-in-provence-1888-fan-gao-225731","Corn Harvest in Provence 1888",[3239,10852,10863,61,35,3241,7,3148,10864,6616],"麦垛","乡村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afd0e08fdbdcb954a07f236f5b8410b.jpg",[3244],{"id":10868,"slug":10869,"title":10870,"dynasty":223,"author":10871,"museum":459,"description":10872,"tags":10873,"thumbUrl":10875,"material":179,"size":179,"collection":179,"collections":10876,"showCount":10788,"zanCount":928,"manualWeight":48,"mainColor":128},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","罗枚","此卷水墨山水以平远之境铺陈开，山峦层叠逶迤，林舍错落点缀溪谷间。线条清劲简括，皴染淡逸萧疏，留白虚处见云水空濛，尽显丘壑幽寂。题诗与画境相融，笔墨脱略凡俗，以淡墨写林泉雅意，简而不薄，淡而有味，将林峦清润之态化为纸上幽境，尽显寄情山水的文人雅怀，清寂出尘的意韵溢满卷间。",[23,24,25,26,114,437,118,30,117,7,676,32,243,386,3755,10874,540,501,138,37,63],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],{"id":10878,"slug":10879,"title":10880,"dynasty":54,"author":434,"museum":459,"description":10881,"tags":10882,"thumbUrl":10887,"material":140,"size":10888,"collection":179,"collections":10889,"showCount":10788,"zanCount":48,"manualWeight":48,"mainColor":128},223582,"rui-lian-ling-mao-tu-yi-ming-223582","瑞莲翎毛图","荷塘里，荷叶绿如盘，粉红的荷花，或腐烂，或萌芽，含彩花，已结莲子； 天空中的白雁鸭成对啄食嬉戏，翠鸟、家禽或站在水草的杆上，或在柳枝上，或盘旋在空中，一派生机勃勃的景象。",[23,24,25,28,29,171,2193,5146,10883,156,2998,7,10884,591,2408,345,10885,10886],"天鹅","翎毛","设色花鸟","工笔花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66437a893b263b8850ee0421ee4d9d3.jpg","80x60cm",[],{"id":10891,"slug":10892,"title":10893,"dynasty":18,"author":298,"museum":658,"description":10894,"tags":10895,"thumbUrl":10896,"material":360,"size":10897,"collection":44,"collections":10898,"showCount":10788,"zanCount":928,"manualWeight":48,"mainColor":49},223398,"shang-shan-si-hao-hui-chang-jiu-lao-tu-li-gong-lin-223398","商山四皓会昌九老图","此图卷以白描手法分别画秦末高士东园公、甪里、绮里季、夏黄公四人避乱隐居中商山的故事和唐会昌五年三月二十四日九位退休老人白居易、胡杲、吉皎、郑据、刘真、卢真、张浑、李元爽、释如满等九位老人相聚洛阳履道坊白居易居所欢聚“尚齿”之会，既醉且欢之际赋诗画画的情景。",[23,24,25,26,437,28,61,30,117,7,676,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46ace2e8df223b406f8896937f90bac.jpg","30.7，横：238厘米",[44,103],{"id":10900,"slug":10901,"title":10902,"dynasty":133,"author":10903,"museum":20,"description":10904,"tags":10905,"thumbUrl":10906,"material":1218,"size":10907,"collection":124,"collections":10908,"showCount":10788,"zanCount":928,"manualWeight":48,"mainColor":128},221807,"shan-lin-qing-qu-tu-zhang-guan-221807","山林清趣图","张观","描绘江岸老树坡石之中，一老者独坐，一童子抱琴，渺茫江面一帆归来之景，右下款署“至正戊戌八月，张观制”，现藏故宫博物院；另有《月下人物图》册页，相传为其所作，藏美国纽约大都会博物馆。",[23,24,114,118,30,579,61,117,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8247aabb43e9b76e19440df1094c1f30.jpg","纵30厘米，横54．7厘米",[124,45],{"id":10910,"slug":10911,"title":10912,"dynasty":18,"author":298,"museum":167,"description":10913,"tags":10914,"thumbUrl":10915,"material":3867,"size":10916,"collection":42,"collections":10917,"showCount":10788,"zanCount":48,"manualWeight":48,"mainColor":49},221408,"long-mian-shan-tu-li-gong-lin-221408","龙眠山图","《龙眠山庄图》亦称《山庄图》，是宋代杰出画家李公麟的白描山水画。画面表现的是由建德馆至垂云片的龙眠山庄图景。自西而东凡数里，岩谔隐见，泉源相属，山行者路穷于此。《宣和画谱》称《山庄图》，可以配王维《辋川图》；《佩文斋书画谱》亦说《山庄图》用王维《辋川图》的画法：“而行笔细润，乃有超越之意”。苏轼为之记，苏辙为之赋诗，凡二十首。《山庄图》既出，便为世人所珍爱。《山庄图》不仅是一幅远离尘嚣的山村风俗画卷，更体现了山庄主人思想倾向和生活情致。苏轼在《题李伯时〈山庄图〉后》说，李公麟在龙眠山，并非留意一草一木，然而《山庄图》“其神与万物交，其智与百工通。”所以他称李公麟为“有道有艺”的画家。",[23,152,24,25,437,118,30,204,7,61,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb03915a38cf74d256514b6749816117.jpg","纵28.9厘米，横364.6厘米",[42,124,103],{"id":10919,"slug":10920,"title":10921,"dynasty":1743,"author":5400,"museum":3209,"description":10922,"tags":10923,"thumbUrl":10924,"material":230,"size":179,"collection":179,"collections":10925,"showCount":10788,"zanCount":48,"manualWeight":48,"mainColor":128},220564,"jiu-fang-gao-tu-xu-bei-hong-220564","九方皋图","画面以质朴底色铺陈，左方驯马壮汉肌肉虬结，笔触精准勾勒出力量感，烈马扬蹄摆尾尽显桀骜，一旁驭者沉静注视。右侧老者目光如炬，于旁人的疑惑神情中笃定识人，寥寥数笔便将人物性格刻画分明。\n\n创作者将西式写实的人体结构与国画笔墨相融，铁线般的线条勾勒身形，淡墨晕染铺就荒郊底色，既保留写意的留白韵致，又以写实功底强化画面张力。借旧典暗喻识才辨贤的深意，将传统题材注入时代精神，筋骨兼具，形神合一，尽显创作巧思与风骨。",[23,152,24,114,28,228,61,90,411,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffe6163f0f6d4f5d21df2d5184d3f94.jpg",[],{"id":10927,"slug":10928,"title":10929,"dynasty":1743,"author":5400,"museum":5177,"description":10930,"tags":10931,"thumbUrl":10934,"material":179,"size":179,"collection":179,"collections":10935,"showCount":10788,"zanCount":928,"manualWeight":48,"mainColor":128},220548,"chuan-fu-xu-bei-hong-220548","船夫","漓江烟霭如纱晕染天际，前景丹黄枝叶错落交织，框住扁舟浮生。赤身船夫们筋肉虬结，或匍匐撑篙、或伫立持杆，将劳力的沉实粗粝揉碎在漾漾水波里。蓝衣妇人静坐舱侧，指尖捻着细碎活计，松弛的背影与紧绷的船夫形成鲜明对照，将日常烟火气晕开劳作的艰涩。\n\n画作融水墨晕染与写实工笔于一体，淡墨晕开远山虚影，细笔勾勒出躯干贲张的肌理，把底层劳动者的鲜活力量揉进水乡诗意里。以平实视角定格江面上生计的重量，将烟火日常淬炼成沉凝的生命注脚，笔墨里既有写实筋骨，又带着东方意境的柔婉，苦役里透出质朴生机。",[24,28,114,4311,61,89,342,7,2336,500,6616,10932,4310,10933],"秋意","场景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287adcfa47e3a00be2e87bcf795b7f9b.jpg",[],{"id":10937,"slug":10938,"title":10939,"dynasty":18,"author":434,"museum":167,"description":10940,"tags":10941,"thumbUrl":10942,"material":78,"size":10943,"collection":331,"collections":10944,"showCount":10788,"zanCount":928,"manualWeight":48,"mainColor":49},220443,"song-ren-sun-ji-tu-yi-ming-220443","宋人隼击图","秋桂飘香，芙蓉摇曳，原是祥和秋景，却呈现阵阵肃杀之气。但见巨鹰凌空俯冲，凌厉的目光，大有扑杀之势。于是雉鸡藏身石后，八哥、蜡嘴仓皇桃散，状甚惊恐。而它们在走避之余，尚注视着巨鹰动向的眼神，尤为生动传神。本幅细致写实，传为宋人所作，然就树干、芙蓉叶、芦苇等多处笔意观之，倒颇合明代吕纪一派画风。",[23,24,25,28,29,156,7,1621,244,7761],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97657f8d0e87c5567462cc2a0dbe89c9.jpg","本幅 154.8x101.5公分、全幅 114公分",[331,42],{"id":10946,"slug":10947,"title":10948,"dynasty":18,"author":434,"museum":167,"description":10949,"tags":10950,"thumbUrl":10951,"material":78,"size":10952,"collection":44,"collections":10953,"showCount":10788,"zanCount":48,"manualWeight":48,"mainColor":49},220424,"du-fu-li-ren-xing-tu-yi-ming-220424","杜甫丽人行图","《丽人行》是唐代大诗人杜甫的作品，约作于唐天宝十二载（753年）。此诗通过描写杨氏兄妹曲江春游的情景，揭露了统治者荒淫腐朽作威作福的丑态，从一个角度反映了安史之乱前夕的社会现实。诗分三段：先泛写游春仕女的体态之美和服饰之盛，引出主角杨氏姐妹的娇艳姿色；次写宴饮的豪华及所得的宠幸；末写杨国忠的骄横。全诗场面宏大，鲜艳富丽，笔调细腻生动，讽刺含蓄不露，通篇只是写“丽人”们的生活情形，却达到了如前人所说“无一刺讥语，描摹处语语刺讥；无一慨叹声，点逗处声声慨叹”的艺术效果。",[23,24,25,152,5161,29,28,30,61,69,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd607f74f9590044dbe2c25f94a50f5f.jpg","40.1x41厘米",[44,45],{"id":10955,"slug":10956,"title":10957,"dynasty":223,"author":1533,"museum":1202,"description":10958,"tags":10959,"thumbUrl":10960,"material":303,"size":179,"collection":124,"collections":10961,"showCount":10788,"zanCount":928,"manualWeight":48,"mainColor":128},219914,"cai-zhao-shi-yi-tu-wang-jian-219914","蔡肇诗意图","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[24,25,152,114,118,202,475,30,7,64,115,117,1446,37,994,244,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb7e789e1591565f7fc6f26d2254029.jpg",[124],{"id":10963,"slug":10964,"title":10965,"dynasty":223,"author":1310,"museum":167,"description":10966,"tags":10967,"thumbUrl":10968,"material":122,"size":10969,"collection":124,"collections":10970,"showCount":10788,"zanCount":928,"manualWeight":48,"mainColor":128},219332,"gui-yin-tu-tang-dai-219332","归隐图","画山水师法王原祁，官内务府总管，以画只候内廷，康熙赐「画状元」。本幅画幽岩架屋，秋色满林，石磴盘空，泉流萦抱。用笔细致，山石多用干笔，带皴带擦，特重山势向背。",[24,25,30,28,118,117,7,243,116,206,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1876c740f1a043e94f3409e2f9793278.jpg","86.2x48.4",[124],{"id":10972,"slug":10973,"title":10974,"dynasty":54,"author":10975,"museum":167,"description":10976,"tags":10977,"thumbUrl":10978,"material":303,"size":10979,"collection":103,"collections":10980,"showCount":10788,"zanCount":48,"manualWeight":48,"mainColor":128},219322,"fang-yuan-ren-bi-yi-zhou-hou-mao-gong-219322","仿元人笔意轴","侯懋功","侯懋功（生卒年不详），号夷门，苏州人，活跃于明代万历(1573-1620）年间。画中冈峦秀伟，崖径、栈道蜿蜒其间，若可游赏，并通向山顶隐蔽村舍。构图与山石树木之造型、用笔可见明代文征明之影响。「Y」字分界的前景石块及山间平顶，追仿着元代黄公望（1269-1354）的母题；繁密又多细节的景致，颇具元代王蒙遗意。此画不落蹊径地展现元人意趣，实为侯氏佳作。",[24,25,202,114,118,60,30,117,7,64,63,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7ea70bfb859b086a831915d3eb4616.jpg","112.3x34.9",[103],{"id":10982,"slug":10983,"title":10984,"dynasty":18,"author":10985,"museum":167,"description":10986,"tags":10987,"thumbUrl":10989,"material":78,"size":179,"collection":124,"collections":10990,"showCount":10788,"zanCount":48,"manualWeight":48,"mainColor":128},218699,"chun-hu-fang-ya-tu-hui-chong-218699","春湖放鸭图","惠崇","粼粼春波轻漾，岸畔丛树新绿初绽，枝桠间似有柔风拂过。群鸭悠游于浅滩，或潜或浮，打破湖面静谧却更衬出天地清旷。画面以淡墨晕染水色，赭石轻点岸坡，色调温润如春日暖阳。构图虽简，却于留白处藏无限悠远——似可闻水声潺潺，嗅草木清香。那份恬淡自在，恰是小景山水的妙处：不追磅礴气势，只撷自然一角生机与意趣，让观者心随水禽，飘向春日烟水深处。笔墨细腻处见雅致，清寂中藏灵动，尽展宋人对自然的细腻感知与诗意情怀。",[23,24,25,385,114,28,30,7,3598,10988,1446,119],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611f2359fee40bf129bb4fc8e4c89e36.jpg",[124],{"id":10992,"slug":10993,"title":10994,"dynasty":18,"author":3371,"museum":111,"description":10995,"tags":10996,"thumbUrl":10997,"material":78,"size":10998,"collection":124,"collections":10999,"showCount":10788,"zanCount":11,"manualWeight":48,"mainColor":49},218553,"jiao-yuan-ye-zhang-tu-ma-lin-218553","郊原曳杖图","亭子和阳台的一角被画上了。柳树高大而美丽，月亮在天空中，岩石微微露出，从上面可以看到长廊，亭子完全可以看到。\n悬崖用凿子画，亭子用稳健的笔触画，树叶也得到充分的装饰，远处的山峰被烤得绿油油的，并被渲染成彩色，天空中的月亮，以及柳树林中隐约可见的亭子和台阶。",[23,24,25,2895,114,28,30,61,243,7,502,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef491921f92892f4f8b6bec2dc1e90cc.jpg","23.3x23.6",[124],{"id":11001,"slug":11002,"title":11003,"dynasty":223,"author":8448,"museum":167,"description":11004,"tags":11005,"thumbUrl":11006,"material":78,"size":11007,"collection":124,"collections":11008,"showCount":10788,"zanCount":48,"manualWeight":48,"mainColor":49},218290,"jiang-shan-chun-ai-tu-gao-qi-pei-218290","江山春霭图","高其佩（西元一六七二－一七三四年），字 韦之，号且园，又号南村。辽宁人。凡花木、鸟 兽、鱼龙、人物，无不精妙，尤以山水人物为胜 。其山水沉着，人物生动，深得明吴伟之神趣。另以指头作画著称，奇情异趣，信手而成。本幅画层峦叠翠，山城寺阁错落，溪上泊棹 连樯，岸畔田畴村居。稻田?农人耕作，山径有 行旅载途。溪水溶溶，远山春霭，春意什浓。全 图笔触苍劲，墨色敷彩浓淡有致，层次分明。",[24,28,30,118,202,117,7,64,115,62,243,1044,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6464c85911fb2dd25ec5ae4d6085248b.jpg","241.8x128.1cm",[124],{"id":11010,"slug":11011,"title":11012,"dynasty":54,"author":7255,"museum":11013,"description":11014,"tags":11015,"thumbUrl":11016,"material":122,"size":11017,"collection":124,"collections":11018,"showCount":10788,"zanCount":48,"manualWeight":48,"mainColor":128},217921,"shan-jing-xing-lv-tu-zhou-chen-217921","山径行旅图","维多利亚和阿尔伯特博物馆","画面中可以看到蜿蜒的山径，周臣巧妙地运用了线条和色彩来表现山径的弯曲起伏。顶部的云朵和树林以及画面下方的山峰和溪流，使得整幅画充满了生机和动感。\n\n此外，周臣还细致地描绘了山径两侧的植物和动物，包括花草、山石、鸟类、鹿等。这些细节使得画面更加丰富多彩，也展示了周臣对生物的热爱和观察力。\n\n总的来说，《山径行旅图》是周臣的杰作，它展现了他对自然的热爱和描绘能力，也是中国画史上的一颗明珠。",[24,2895,30,9200,205,61,90,7,117,114,28,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a6eebb70a11f31cd71bd92a3caf50.jpg","33.5x61cm",[124],{"id":11020,"slug":11021,"title":11022,"dynasty":223,"author":4524,"museum":11023,"description":11024,"tags":11025,"thumbUrl":11026,"material":78,"size":179,"collection":124,"collections":11027,"showCount":10788,"zanCount":48,"manualWeight":48,"mainColor":128},216904,"qian-long-nan-xun-zhu-bi-tu-ye-ce-qian-wei-cheng-216904","乾隆南巡驻跸图页册","大英图书馆","二十三帧中的每一帧都有一个标题，有些板块还有文字描述南行的时间、景观和内容。该作品的构图融合了传统的风景画，花、树和花园清新柔和，远处和近处的山形以皲裂的风格描绘，建筑物则以三维俯视的方式绘制。",[23,24,25,385,59,28,29,62,30,7,116,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdded9f524bd90de54bf710ce3491c184.jpg",[124],{"id":11029,"slug":11030,"title":11031,"dynasty":223,"author":224,"museum":459,"description":11032,"tags":11033,"thumbUrl":11034,"material":360,"size":11035,"collection":44,"collections":11036,"showCount":10788,"zanCount":48,"manualWeight":48,"mainColor":128},216734,"liu-shui-zhi-yin-tu-huang-shen-216734","流水知音图","《高山流水遇知音》是钟子期和俞伯牙的故事，用插图的方式再现了这个故事，虽然意境不是很高，但笔触粗拙，是黄慎的典型面目。",[23,24,25,152,565,202,114,228,61,64,7,328,806,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8719be88666ba739e59fcf8f941b3ab1.jpg","164x82",[44],{"id":11038,"slug":11039,"title":11040,"dynasty":18,"author":11041,"museum":111,"description":11042,"tags":11043,"thumbUrl":11044,"material":179,"size":179,"collection":42,"collections":11045,"showCount":10788,"zanCount":48,"manualWeight":48,"mainColor":11046},202162,"ben-du-tu-juan-liang-tu-shan-202162","奔犊图卷","梁秃山","画面以简括笔墨勾勒奔牛动态，牛身墨色浓淡相间，肌肉张力隐现，四蹄腾空似奋力疾奔，尾梢甩动更添动感。旁侧小兽身形小巧，与壮牛形成对比，衬出牛之奔势。背景树木枝干疏朗，坡石以淡墨晕染，留白处尽显空濛，营造出野逸之境。整幅画作笔墨极简却意趣盎然，于瞬间动态中捕捉生命活力，尽显南宋文人画的写意精神与自然意趣。",[24,114,26,91,1855,7,6238,118,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6883540eba2ef1d4626cdca1f141cd96.jpg",[42],"a0855e",{"id":11048,"slug":11049,"title":5033,"dynasty":223,"author":9866,"museum":459,"description":11050,"tags":11051,"thumbUrl":11053,"material":808,"size":809,"collection":179,"collections":11054,"showCount":5,"zanCount":928,"manualWeight":48,"mainColor":128},288450,"xi-shan-xian-guan-tu-zhu-da-288450","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,152,24,114,475,118,243,7,62,63,11052,153,119],"仙馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b86f413a67c060306137c99a9667fb.jpg",[],{"id":11056,"slug":11057,"title":11058,"dynasty":223,"author":11059,"museum":459,"description":11060,"tags":11061,"thumbUrl":11062,"material":179,"size":11063,"collection":179,"collections":11064,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":128},234137,"xi-hu-zai-he-tu-xiang-juan-xie-bin-234137","西湖载鹤图像卷","谢彬","谢彬，字文侯，上虞人，为曾鲸高足，善画人物，兼长山水，清朱彝尊云：“谢彬学曾鲸氏而有得者也。”所作《朱葵石像》录于《中国绘画史图录》，《颜修来题壁图像》册页录于《中国书画过目汇考附目》，《渔乐图》录于《赖古堂书画集》。张学曾，字尔唯，号学庵，会稽人，自幼好画，为“画中九友”之一，山水师董源，喜仿元人笔，苍秀疏简，妍而不甜，枯而不涩，传世作《仿倪云林山水图》，藏故宫博物院，《秋兴诗意图》册录于《虚斋名画录》，《赠别图》录于《中国绘画史册》。金古良，字射堂，山阴人，善画人物，作《无双谱》，集书、画、诗为一体，甚杰出，称誉海内。李因，字今生，号是庵，会稽人，女画家，工花卉禽鸟，画多水墨，苍老无闺阁气，精于写生，点染生动，大幅更佳，亦善刻，曾刻其师陈白阳像奉之，传世作《墨花鸟》卷藏故宫博物院，《鸟竹图》扇面，录于《铁琴铜剑楼藏扇集锦》，《荷花鸳鸯图》藏南京博物院。李因之夫葛无征，亦善山水。",[23,24,152,25,26,28,27,29,30,62,63,64,115,156,116,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349f77f272eba5b173d116e21d035d63.jpg","横：419.3cm，纵：16.7cm",[],{"id":11066,"slug":11067,"title":11068,"dynasty":54,"author":8650,"museum":459,"description":11069,"tags":11070,"thumbUrl":11071,"material":179,"size":179,"collection":179,"collections":11072,"showCount":5,"zanCount":928,"manualWeight":48,"mainColor":49},228424,"fang-zhao-yong-xi-shan-ting-quan-tu-lan-ying-228424","仿赵雍溪山听泉图","此作用笔苍劲老辣，层岩峻拔巍峨，以硬朗皴法写尽山石厚重质感，峭壁间飞泉垂落，似能闻声潺潺。山间林木虬曲多姿，红绿错杂，为幽寂山景添了几分灵动生机。\n\n画面一隅茅庐依水而设，隐士凭坐松下静听泉声，将林泉高致藏于丘壑之中。整体兼具元人山水的疏朗写意与浙派刚健气象，既绘出峰峦雄阔之态，又尽显林下幽居的萧散闲逸，把观泉听涛的雅趣融在山野烟岚里，清寂淡远的林下之逸跃然纸面。",[23,24,152,25,202,114,28,118,30,204,7,1313,244,206,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc4742071ff701ac6e53351aca5f7f5.jpg",[],{"id":11074,"slug":11075,"title":11076,"dynasty":18,"author":944,"museum":459,"description":11077,"tags":11078,"thumbUrl":11079,"material":179,"size":179,"collection":179,"collections":11080,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227955,"gu-gong-tu-ce-zhao-bo-ju-227955","故宫图册","此作以青绿晕染层叠丘壑，色调古雅厚重，界画楼阁精工严整，飞檐斗拱分毫毕现，尽显宫苑富丽堂皇。云气缭绕于台榭林麓之间，虚实相生，让恢宏楼宇掩映得灵动缥缈，消解了建筑的刻板厚重。\n\n山道间行旅策蹇徐行，板桥卧于溪上，潺潺流水隐于其间，鲜活点缀为静谧宫晕开几分林泉雅趣。画作糅合院体山水的精工法度与青绿设色的古艳雅致，将皇家苑囿的恢宏气度，与林泉丘壑的清逸空濛相融，尽显工丽秀雅的宋画风韵。",[23,24,27,28,59,29,30,62,63,61,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd9ee1df76dc0919e8b19de41238e03.jpg",[],{"id":11082,"slug":11083,"title":11084,"dynasty":18,"author":434,"museum":167,"description":11085,"tags":11086,"thumbUrl":11087,"material":360,"size":11088,"collection":179,"collections":11089,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223423,"song-ren-ying-xi-tu-zhou-yi-ming-223423","宋人婴戏图轴","以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。",[23,24,25,202,29,28,61,3169,5147,7,1621,4472,6764,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda63fb920aa5b61046227673fe4d57a0.jpg","279x84",[],{"id":11091,"slug":11092,"title":11093,"dynasty":223,"author":784,"museum":658,"description":785,"tags":11094,"thumbUrl":11095,"material":793,"size":794,"collection":179,"collections":11096,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},222818,"gu-su-fan-hua-tu-di-er-duan-xu-yang-222818","姑苏繁华图第二段",[23,24,25,26,29,28,59,61,62,63,64,116,7,35,93,67,71,787,66,65,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13854b780c9cb3ed4dddfbf1c538ccc.jpg",[],{"id":11098,"slug":11099,"title":11100,"dynasty":54,"author":11101,"museum":459,"description":11102,"tags":11103,"thumbUrl":11104,"material":11105,"size":11106,"collection":124,"collections":11107,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":128},222139,"shan-shui-shou-juan-li-liu-fang-222139","山水手卷","李流芳","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。\n万历三年（1575）李流芳出生于嘉定南翔一户官宦人家。原籍南直隶徽州府歙县（今安徽歙县南丰），祖父李文邦为迁翔始祖，任成山卫指挥使，封赠公爵。父亲李汝筠系县学生。伯父李汝节是嘉靖进士，官至安吉知州。堂兄李先芳，万历进士，四川参议。李流芳兄弟四人：长兄李元芳，诸生，诗人；仲兄李名芳万历进士，翰林院庶吉士；弟李三芳，定海县丞。李流芳排行第三，人称李三长蘅。\n李流芳青少年时，潜身东林庵中，认真读书，企求科举入仕。万历三十四年(1606)，32岁中举，后又两度赴京参加殿试皆不第。时朝廷为太监魏忠贤及其党羽把持，仕途凶吉难料。他感到气馁，回到家乡，自建“檀园”，绝意仕途。他经常游览杭州西湖，一边游湖一边作画，并提笔写下一系列题跋，一派高人逸士之风度。为人耿直，诗风清新自然，文品为士林翘楚。魏忠贤建生祠不往拜，与人云：“拜，一时事，不拜，千古事。”\n李流芳和程嘉燧，诗文书画齐名，曾对好友钱谦益说：“精舍轻舟，晴窗明己，看孟阳（程嘉燧）吟诗作画乃是生平第一快事。”钱谦益曰：“吾却有二快，兼看兄与孟阳耳。”崇祯元年（1628），钱谦益被放，坐帐论牍，病中的李流芳闻讯，扶枕浩叹：“不可为矣！”\n崇祯二年 (1629)闰四月三日李流芳卒于檀园，享年五十五岁。钱谦益作《李长蘅墓志铭》，程嘉燧书丹，宋珏篆盖，侯峒曾作《祭李长蘅先生文》。清嘉定诗人林大中有诗夸其“忆当晚明时，官途亦多术。高士多鄙之，坚卧独不出。诗笔能清真，画品亦超轶。不拜千古事，名言殊简质。孝廉忧国家，呕血遂以卒。”大书画家董其昌曰：“其人千古其艺千古！”",[23,24,25,26,114,118,30,341,342,7,35,138,74,500,3755,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[124,103],{"id":11109,"slug":11110,"title":11111,"dynasty":18,"author":1865,"museum":459,"description":11112,"tags":11113,"thumbUrl":11114,"material":28,"size":11115,"collection":42,"collections":11116,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},221486,"hao-shan-wu-shu-tu-juan-mi-you-ren-221486","好山无数图卷","全景以留白的云霭，穿梭于峰峦叠翠间，重山翠岭连绵不绝，自左而右、渐行空远。技法上以“米点”墨色铺陈山峦及树石，另以较为浅淡的墨色晕染沙渚岸边；工笔浓墨装点枝干、独桥及扁舟。画家铺陈山景的风格及技法，与其父米芾颇有相通之处，故《画继》中称其所作山水“点滴烟云，草草而成，而不失天真，其风气肖乃翁(芾)也”，故画史上有“大米”及“小米”之称。此幅充满诗意、适时应景的画题，可溯自其父米芾，甚而宋迪“萧湘八景”图。它旨在将游历山景的心境投射于画境中，透过米点皴染表现出来，诗画合一。",[23,152,24,25,26,114,118,119,153,30,341,881,342,115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[42,124,103],{"id":11118,"slug":11119,"title":11120,"dynasty":54,"author":955,"museum":167,"description":11121,"tags":11122,"thumbUrl":11123,"material":303,"size":11124,"collection":124,"collections":11125,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":128},220938,"xia-mu-chui-yin-tu-zhou-dong-qi-chang-220938","夏木垂阴图轴","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。",[23,24,152,25,202,114,118,30,7,117,206,500,674,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82925c244a2cd56242a7317cc1c18543.jpg","纵91.3cm，横44cm",[124,103],{"id":11127,"slug":11128,"title":11129,"dynasty":133,"author":11130,"museum":56,"description":11131,"tags":11132,"thumbUrl":11133,"material":555,"size":11134,"collection":124,"collections":11135,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},220425,"shi-shang-song-hua-tu-zhang-xun-220425","石上松花图","张逊","元代张逊书画世所罕见，故宫博物院藏有其白描双勾竹一卷，足见风采。此山水一幅是王季迁旧物，1997年捐给大都会艺术博物馆。用笔学董、巨，山中静日长，只见松花开又落。落款自题：“石上松花落又开，山樗无用亦成材，蒲轮不到樵人径，白发徒过五十来。张逊。”另有倪瓒、李瓒题诗。",[23,24,475,202,114,28,117,7,342,500,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff011efff5735f2afb6e05f576839c3ab.jpg","90.8cm×42.5cm",[124,103],{"id":11137,"slug":11138,"title":11139,"dynasty":18,"author":298,"museum":266,"description":11140,"tags":11141,"thumbUrl":11142,"material":78,"size":11143,"collection":42,"collections":11144,"showCount":5,"zanCount":928,"manualWeight":48,"mainColor":49},220333,"yuan-ming-gui-yin-tu-li-gong-lin-220333","渊明归隐图","本画将《归去来兮辞》原文分为七段配以相应的绘本，完整描绘渊明归去来的一连串情节，画面热闹，用笔工整讲究，但与《归去来兮辞》中所描写的略有出入，倒有些像是辞官后富贵还乡的场景。",[23,24,26,437,28,119,120,153,61,30,116,115,156,7,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68210320aa225634ebd2bcf13157b263.jpg","37.0x521.5",[42],{"id":11146,"slug":11147,"title":11148,"dynasty":54,"author":5544,"museum":20,"description":11149,"tags":11150,"thumbUrl":11152,"material":555,"size":11153,"collection":124,"collections":11154,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},220048,"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[23,24,25,202,201,228,118,30,761,1644,115,11151,64,341,1473,639,7],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","纵122.8厘米，横75厘米",[124,44],{"id":11156,"slug":11157,"title":11158,"dynasty":223,"author":381,"museum":4132,"description":11159,"tags":11160,"thumbUrl":11161,"material":122,"size":11162,"collection":124,"collections":11163,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},219930,"liu-xi-diao-ting-tu-shi-tao-219930","柳溪钓艇图","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，僧名元济，一作原济，别号很多，大滌子、钝根、石道人、苦瓜和尚、瞎尊者、清湘陈人、清湘老人、清湘遗人、零丁老人。 明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。",[23,24,114,118,202,30,1216,115,64,328,7,61,62,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff3288481cb043a71d1eaf11cecb7e0.jpg","127.4x54",[124],{"id":11165,"slug":11166,"title":11167,"dynasty":54,"author":537,"museum":167,"description":11168,"tags":11169,"thumbUrl":11170,"material":122,"size":11171,"collection":45,"collections":11172,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},219340,"jue-he-gao-xian-tu-wen-zheng-ming-219340","绝壑高闲图","深林密荫，悬壁周环，瀑布清冷，淙淙然仿佛可闻流水声。主来客坐，别无其它通径，真有与世隔绝之概。此图与其八十岁所作「古木寒泉」有相通之处，但不及其简链。",[24,25,114,28,118,912,30,61,7,117,204,4638,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c19e7ef475d412fcce34d90c5a2f1f7.jpg","148.9x177.9cm",[45],{"id":11174,"slug":11175,"title":11176,"dynasty":18,"author":11177,"museum":167,"description":11178,"tags":11179,"thumbUrl":11180,"material":78,"size":179,"collection":42,"collections":11181,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":128},218935,"song-xiu-yu-cun-tu-gao-ke-ming-218935","松岫渔村图","高克明","在画作中央的山坡上画着一栋村舍，它与右边的坡石由一座木桥连接，桥下的溪水流淌着，仿佛在鸣叫。桥上的一个男人正向村子走去，后面跟着一个孩子。坡岸上有房屋和树木，远处的山峰上也有树木；远处的山峰被涂上了鲜艳的色彩，还有蒸腾的雾气，这种场景类似于中国南方的晚春日落。这幅作品的构图是典型的边缘化，场景本身只占整个画面的一半，形成一条从远处山顶的树梢到倾斜的海岸的对角线。虽然这是一部小作品，但它具有巨大和深远的潜力。笔触低调，构图和主题一再显示出与马夏画派的亲和力。",[23,24,2895,30,540,117,7,64,115,118,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a818024b4d6462ac770c4d1cfc69bc.jpg",[42],{"id":11183,"slug":11184,"title":11185,"dynasty":18,"author":575,"museum":167,"description":9198,"tags":11186,"thumbUrl":11187,"material":78,"size":9202,"collection":179,"collections":11188,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":128},218572,"hua-niao-shan-shui-xiao-pin-ce-song-ge-yuan-tiao-ma-yuan-218572","花鸟山水小品册-松阁远眺",[23,152,24,25,385,28,118,30,62,540,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a243811f9d11bd8f802140177b34ff7.jpg",[],{"id":11190,"slug":11191,"title":599,"dynasty":54,"author":3786,"museum":4449,"description":11192,"tags":11193,"thumbUrl":11194,"material":122,"size":11195,"collection":124,"collections":11196,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":128},218089,"shan-shui-tu-lu-zhi-218089","陆治的山水图以其细腻的线条、精细的绘制技巧和浓郁的气韵而闻名。他对自然的描绘十分精确，能够将山川、河流、草木、云彩和其他自然元素都表现得十分逼真。他的作品中常常会出现山峰突出的场景，比如《凌云图》中的高峰，以及《雁荡图》中的荡秋千的山峰。\n\n陆治还善于表现水的流动，他的作品中常常会出现河流奔流的场景。他还会把水和山结合起来，比如在《凌云图》中就有悬崖峭壁上流出的小溪，以及《雁荡图》中的湖泊和山峰的结合。\n\n总的来说，陆治的山水图以其精细的绘制技巧和浓郁的气韵而闻名，是明朝山水画的巅峰之作。",[23,24,475,118,114,117,7,676,69,204,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76928577a7dc880899d9fd527dc9dd1.jpg","139x69.9cm",[124],{"id":11198,"slug":11199,"title":11200,"dynasty":54,"author":955,"museum":111,"description":1470,"tags":11201,"thumbUrl":11202,"material":122,"size":179,"collection":179,"collections":11203,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":128},214647,"qiu-xing-ba-jing-tu-ce-10-dong-qi-chang-214647","秋兴八景图册-10",[24,25,385,114,28,120,153,118,30,7,32,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733353bab86339fd091579c32aef95fe.jpg",[],{"id":11205,"slug":11206,"title":11207,"dynasty":620,"author":2232,"museum":459,"description":11208,"tags":11209,"thumbUrl":11210,"material":808,"size":809,"collection":179,"collections":11211,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":49},290250,"gao-shan-zhi-yu-tu-ju-ran-290250","高山知遇图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。\n名下画作有《秋山问道图》《山居图》《萧翼赚兰亭图》《万壑松风图》《层岩丛树图》《秋山图》等传世。",[152,24,475,202,114,118,5357,63,64,116,204,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fd1673d01e02f62973c92de006d169.jpg",[],48,{"id":11214,"slug":11215,"title":7884,"dynasty":620,"author":11216,"museum":459,"description":11217,"tags":11218,"thumbUrl":11219,"material":808,"size":809,"collection":179,"collections":11220,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":49},288836,"hu-shan-chun-xiao-tu-liu-dao-shi-288836","刘道士","工佛道鬼神，落笔遒怪，尤善山水，师董源，与巨然同时，画亦同。但刘道士在左，巨然则以僧在左。以此为别",[23,152,24,25,202,114,30,118,243,62,64,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45d33542a55bbea40943f6b7f253a0dd.jpg",[],{"id":11222,"slug":11223,"title":11224,"dynasty":18,"author":2712,"museum":459,"description":2713,"tags":11225,"thumbUrl":11226,"material":808,"size":809,"collection":179,"collections":11227,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":49},283692,"jiang-shan-lou-guan-tu-yan-wen-gui-283692","江山楼观图",[23,152,24,26,114,30,118,243,2715,37,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e41c21ecbc8836ec3be077cef4fdb8e.jpg",[],{"id":11229,"slug":11230,"title":11231,"dynasty":223,"author":434,"museum":459,"description":11232,"tags":11233,"thumbUrl":11235,"material":808,"size":809,"collection":179,"collections":11236,"showCount":11212,"zanCount":11,"manualWeight":48,"mainColor":49},272876,"zi-tan-mu-bian-xiu-hua-niao-tu-gua-ping-yi-ming-272876","紫檀木边绣花鸟图挂屏","此挂屏以石青暗缎为地，施针走线晕染出幽隽小景。浅绒线绣就的花树虬曲苍柔，枝头花苞攒聚、轻绽妍丽，花瓣脉络隐现，娇态尽显。玲珑湖石立于坡间，间伴细草幽竹，朴雅静谧。几只彩蝶振翅穿行，翅纹纤毫毕现，似携清风欲飞，让画面骤然生动。\n\n绣法精巧入微，将工笔花鸟画的雅致意趣融于针黹，配色柔雅和谐，石青底色衬出浅绣的温润柔和，整体清逸娴静，尽显旧时绣作的细腻灵秀，将庭院春景的恬然诗意凝固于方寸之间。",[11234,10597,171,7,4482,567,4472,8941,6118,29],"挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999cee02d06f47378508cade23691a87.jpg",[],{"id":11238,"slug":11239,"title":11240,"dynasty":223,"author":11241,"museum":459,"description":11242,"tags":11243,"thumbUrl":11244,"material":179,"size":179,"collection":124,"collections":11245,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":128},238823,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238823","董诰墨庄览胜图册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,385,28,30,118,117,7,540,35,63,64,37,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa443f86659d1246ce2824ef78b06a3ac.jpg",[124,45],{"id":11247,"slug":11248,"title":11249,"dynasty":223,"author":11250,"museum":20,"description":11251,"tags":11252,"thumbUrl":11253,"material":179,"size":179,"collection":124,"collections":11254,"showCount":11212,"zanCount":928,"manualWeight":48,"mainColor":128},238539,"nan-tian-men-guan-yin-si-tu-zhou-li-zong-wan-238539","南天门观音寺图轴","励宗万","励宗万（1705年—1759年），字滋大，号衣园，又号竹溪，直隶静海（今天津市静海县）人，励廷仪子，清代藏书家、书画家。\n康熙六十年（1721年）进士，入翰林，年才十七。历官刑部侍郎。以画供奉内廷，兼工山水、花鸟，笔意恬雅，设色古淡。书法褚、颜、苏、米，圆劲秀拔，与张照齐名，称“南张北励”。卒年五十五。《清画家诗史》、《归石轩画谈》、《熙朝名画录》、《桐阴论画》、《香树斋文集》、《读画辑略》。乾隆二十四年（1759年）卒，葬于北五里庄。",[24,25,202,114,118,30,62,923,153,426,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c63efd8e91a869a77380de50cf1ac31.jpg",[124,103,1822],{"id":11256,"slug":11257,"title":1589,"dynasty":223,"author":381,"museum":459,"description":11258,"tags":11259,"thumbUrl":11260,"material":179,"size":179,"collection":179,"collections":11261,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":128},234168,"yuan-ji-shan-shui-tu-juan-shi-tao-234168","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,24,25,26,114,118,30,31,7,35,32,37,120,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815dd148ee14a764573968a252a39549.jpg",[],{"id":11263,"slug":11264,"title":11265,"dynasty":223,"author":434,"museum":459,"description":11266,"tags":11267,"thumbUrl":11268,"material":179,"size":179,"collection":179,"collections":11269,"showCount":11212,"zanCount":928,"manualWeight":48,"mainColor":49},230300,"wan-guo-lai-chao-tu-yi-ming-230300","万国来朝图","《万国来朝图》是清代宫廷佚名画家创作的绢本设色画，现藏于 。\n《万国来朝图》，将万国来朝使团朝贡的场景绘于画面，场面宏大十分热闹。\n画面显示，每到元旦朝贺庆典，各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见；充分展示出宫廷建筑群的宏伟壮观和天朝大国、万国来朝的盛世气派。\n《万国来朝图》包含了远西诸国（荷兰、英吉利、法兰西）、周边诸国（日本、朝鲜、安南），而荷兰、英吉利、法兰西又都是带口子边的，在贬低他国的同时直接反映了清朝以天朝上国自居的自大心态。\n该画作在大雪银装素裹下更加庄严雄伟；太和殿前皇家侍卫身着华服、排列整齐，文武百官肃立静候待命；乾隆帝安闲地坐在后宫屋檐下靠椅上喝茶休憩，准备前往太和殿接见各国使臣；后宫人物众多，女眷们身着吉服三五成群或闲聊、或看热闹，孩子们兴高采烈的或嬉戏、或放鞭炮，太监宫女们各司其位或忙碌于元旦准备工作、或穿梭于庭院回廊；各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见。\n队伍前面有一只经过精心装扮的高大威猛的大象显得神气十足，大象上坐着一人正与同伴交谈着什么。\n画面将万国来朝的宾客们巧妙地安排在画幅四分之一处的右下角，延展出画外仍有众多宾客，场面宏大十分热闹。\n在我国历史上，历朝历代的元旦同样是宫廷最为重要的节日之一。\n具体到大清王朝紫禁城里的元旦，从本质上讲与民间并无二致，只是多了份典礼式的庄严和肃穆，活动多以规模宏大盛典形式表现。\n收藏的几幅由清代宫廷画家绘制的《万国来朝图》，就是对紫禁城内元旦朝贺活动的形象记录。\n赏析这些画作，可以使我们对当年位居九五之尊的皇帝如何过元旦，获得一些感性认识。\n据专家考证，为了宏扬清朝政府的威德，展现“四夷宾服、万国来朝”的繁荣景象，在乾隆帝授意下，宫廷画家们先后创作了多幅向清国朝贺、歌功颂德的绘画，作品之间只是在细节上略微有所不同。\n从画面中可以看出，元旦朝贺庆典是在紫禁城内举行，作者以鸟瞰的角度全景式构图，运用传统工笔界画的表现技法，大胆地通过对个别宫殿适当挪位、变换角度、压缩，通过宏观和微观将主要建筑和场景尽量容纳其中，展示出宫廷建筑群的宏伟壮观和皇家气派、将不同时间段来朝使团朝贡的场景绘于画面，集中表达兴盛之意。\n纵观整体画面，层次丰富、主次分明，准确传神地将各种元素巧妙地组合，将数以百计的人物安排得恰到好处、刻画得细腻入；整幅画作呈现出祥和的景象，淋漓尽致地营造出乾隆年间紫禁城元旦朝贺庆典的热闹场景，给观者强烈的艺术感染力、留下深刻印象。",[23,24,29,28,59,61,62,399,70,7,818,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aff9949ab70c37e5214da467c0091b5.jpg",[],{"id":11271,"slug":11272,"title":11273,"dynasty":990,"author":434,"museum":5990,"description":11274,"tags":11275,"thumbUrl":11278,"material":808,"size":809,"collection":179,"collections":11279,"showCount":11212,"zanCount":928,"manualWeight":48,"mainColor":49},226186,"ku-zhu-shi-xi-pi-yi-ming-226186","窟主室西披","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[11276,3402,28,923,61,30,62,7,11277],"唐代风格","线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2cf7e3d349a2d63c2f7b9a261c0abf.jpg",[],{"id":11281,"slug":11282,"title":11283,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":11284,"thumbUrl":11288,"material":808,"size":809,"collection":3244,"collections":11289,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":49},225748,"flowering-plum-orchard-after-hiroshige-october-november-fan-gao-225748","Flowering plum orchard after Hiroshige (October - November )",[152,60,3239,28,11285,4124,11286,2335,11287,7,591],"浮世绘风格","树枝","绿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ec6e59d5fc227dc0435a3c28cad1ec.jpg",[3244],{"id":11291,"slug":11292,"title":11293,"dynasty":223,"author":1850,"museum":167,"description":11294,"tags":11295,"thumbUrl":11298,"material":11299,"size":11300,"collection":179,"collections":11301,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":128},223093,"hua-nan-fang-zeng-zhang-tian-wang-xiang-zhou-yao-wen-han-223093","画南方增长天王像轴","姚文瀚（公元18世纪）清代画家。号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画。传世作品有《四序图》卷。",[23,24,202,923,29,28,61,30,1856,1344,3315,153,565,11296,11297,7,64],"重彩","神像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b754074b82571d0e38932f5e220c24.jpg","轴 纸本 设色","114.5x66.5厘米",[],{"id":11303,"slug":11304,"title":11305,"dynasty":223,"author":858,"museum":514,"description":859,"tags":11306,"thumbUrl":11311,"material":140,"size":869,"collection":179,"collections":11312,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":49},223075,"hong-lou-meng-61-sun-wen-223075","红楼梦61",[23,24,29,28,59,61,30,818,62,70,7,276,35,170,175,689,11307,11308,11309,11310],"红楼梦题材","室内场景","陈设","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce8b0c32c96d9c86a13f94caf067894.jpg",[],{"id":11314,"slug":11315,"title":11316,"dynasty":54,"author":11317,"museum":3752,"description":11318,"tags":11319,"thumbUrl":11320,"material":179,"size":179,"collection":124,"collections":11321,"showCount":11212,"zanCount":928,"manualWeight":48,"mainColor":128},222837,"qiu-shan-xing-lv-tu-juan-xiao-yun-cong-222837","秋山行旅图卷","萧云从","为了超脱世俗，为了与现实人生拉开距离，画家才在表现语言中摒弃浓艳、烦琐、世故与逢迎，而刻意与平淡、自然、疏冷和简散，表现出一种自吟自叹、清高不群的品质；也正是表现与世人的不同，他们将自然景物在画面中概括为流动的线，意味的点，以率性之笔将画中山水凝练为澹泊、简古、平和之境，远远不同于人们心目中的客观自然；萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。",[23,24,26,28,30,118,2042,205,243,7,63,64,115,62,116,3778,761,244,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dff54a4034023fe32d33dccfab6a4d.jpg",[124,45],{"id":11323,"slug":11324,"title":11325,"dynasty":223,"author":325,"museum":167,"description":3966,"tags":11326,"thumbUrl":11329,"material":415,"size":3970,"collection":124,"collections":11330,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":128},222765,"shi-er-yue-ling-tu-6-yue-lang-shi-ning-222765","十二月令图（6月）",[23,24,29,28,62,1290,2193,115,7,61,11327,11328,3968],"纳凉","消夏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6718ccffcb0e01f60920e1c7a8481499.jpg",[124,45],{"id":11332,"slug":11333,"title":11334,"dynasty":54,"author":4230,"museum":167,"description":11335,"tags":11336,"thumbUrl":11337,"material":78,"size":11338,"collection":124,"collections":11339,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":49},222034,"wei-bin-chui-diao-tu-dai-jin-222034","渭滨垂钓图","这幅画主题「渭滨垂钓」，描绘的是周文王拜访在渭水边隐居垂钓的姜太公，邀请他入朝辅政的故事。画面上，高耸如屏的山峦、随风飘荡的柳树，和环绕河堤周围的岩石，建构了人物活动的舞台，在群树、河堤和山峦之间弥漫云雾。地上的豹皮、钓具点出主人翁姜太公渔隐的生活，他与周文王两人拱手交谈，站立于画面中央，成为目光的焦点。周文王的侍骑五人，则隐蔽在树丛右侧，耐心地等待着这历史性时刻的来临。",[23,24,25,152,28,118,30,61,64,579,289,500,3987,7,1807,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda462a6bcb6ec1bdeb443947c26b1f4e.jpg","高139.6厘米，横75.4厘米",[124,45],{"id":11341,"slug":11342,"title":11343,"dynasty":54,"author":955,"museum":56,"description":11344,"tags":11345,"thumbUrl":11346,"material":11347,"size":11348,"collection":1822,"collections":11349,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":128},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[23,24,25,26,114,30,118,912,119,120,153,243,7,676,63,64,37,138,502,117,504,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[1822],{"id":11351,"slug":11352,"title":11353,"dynasty":133,"author":355,"museum":167,"description":7695,"tags":11354,"thumbUrl":11355,"material":316,"size":11356,"collection":179,"collections":11357,"showCount":11212,"zanCount":928,"manualWeight":48,"mainColor":128},220813,"qin-shu-zi-yu-tu-zhou-wang-meng-220813","琴书自娱图轴",[23,24,25,202,114,118,30,7,62,117,1044,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8731d7e633af79f8819632ef335518d0.jpg","144.6x41.9",[],{"id":11359,"slug":11360,"title":11361,"dynasty":223,"author":1431,"museum":551,"description":11362,"tags":11363,"thumbUrl":11364,"material":303,"size":179,"collection":124,"collections":11365,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":49},220283,"fang-dong-ju-shan-shui-tu-gong-xian-220283","仿董巨山水图","龚贤（1618—1689），又名岂贤，字半千，号野遗、柴丈人、半亩等。昆山人，居金陵。性格孤癖，与人落落难合。既对明末宦官专权腐朽黑暗不满，又对清政府采取不合作态度，是一位刚直不阿有骨气的文人，能诗，懂书，善画。其书画另辟蹊径独出幽异，超然脱俗，对其画作有此评价：“画有繁简（减），乃论笔墨，非论境界也。北宋人千丘万壑，无一笔不减。元人枯枝瘦石、无一笔不繁。通此解者，其半千乎？”从其作品中看，龚贤继承传统有着一条鲜明的轨道可概略为，董巨、二米，倪黄、沈周及董其昌。他的作品面目清晰鲜明，并有各时期的特点。如白龚、灰龚、黑龚之说。尽管如此，他还是坚持不泥古人古法而师法自然师法造化。他说：“古人之书画，与造化同根、阴阳同候，非若今人泥粉，本无先天，奉师说为上智也。”龚贤的作品，最大的特点就是善于用墨。继承和发展了“积墨法”，形成了浓重浑厚，朴实滋润的特点。其作《溪山无尽图》巨制长卷，表现江南重山复水，连绵起伏，丛林房舍，飞瀑流泉，小榭栈道，亭台楼阁，烟云萦绕等自然万物应有齐全，浑厚苍润、丰茂明丽，是积墨法之精品。此图可局部临习；也可通幅临习，用墨应由淡人深，层层叠加，点染数遍。使山石之轮廓和结构与多次皴擦之干湿用笔浑然一体。也可以把龚贤的创作过程理解为由实至虚达厚现润生韵的过程。关于这一点需要我们认真体会。",[23,24,25,202,30,9387,118,31,37,7,206,204,117,1704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59a83655a20a43f31c61d9dc139d6bb.jpg",[124],{"id":11367,"slug":11368,"title":11369,"dynasty":54,"author":110,"museum":1202,"description":5869,"tags":11370,"thumbUrl":11371,"material":122,"size":5873,"collection":179,"collections":11372,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":128},220014,"dong-zhuang-tu-ce-zhi-qu-chi-shen-zhou-220014","东庄图册之曲池",[23,24,114,2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“春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[24,28,59,29,30,341,540,62,1290,34,37,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a93c9e40d1b6c3cd9ff1febf520eea.jpg","纵57厘米，横66.1厘米",[124],{"id":11400,"slug":11401,"title":11402,"dynasty":18,"author":434,"museum":459,"description":11403,"tags":11404,"thumbUrl":11405,"material":303,"size":179,"collection":124,"collections":11406,"showCount":11212,"zanCount":11,"manualWeight":48,"mainColor":49},218598,"guan-he-tu-yi-ming-218598","观河图","岸畔古木扶疏，浓荫覆石，二人伫立凝眸，似为河上烟光所引。左侧层岩叠翠间，楼阁隐现，塔影凌霄，与远岫的淡墨烟岚相映成趣。河面平波如镜，映带天光，留白处尽蓄悠远之思。笔墨简淡却意韵丰饶，山石用皴笔勾勒出肌理，树木以点染晕出葱茏，人物虽小却神形毕肖。咫尺画幅间含纳天地浩渺，观之如临烟水之湄，心随景远，恍若闻得松风与流水和鸣。宋人的山水意趣，尽在这淡墨轻岚里，于无声处诉说着自然与人文的交融，让观者沉湎于烟霞流转的静谧之境。",[23,24,25,152,30,114,28,118,7,61,62,63,64,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76711a84df84311c78bb431889086739.jpg",[124],{"id":11408,"slug":11409,"title":599,"dynasty":223,"author":1533,"museum":20,"description":11410,"tags":11411,"thumbUrl":11412,"material":303,"size":11413,"collection":124,"collections":11414,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":128},218511,"shan-shui-tu-wang-jian-218511","此幅是祝寿题材画，作者在构图上巧意安排：近景绘常青不衰有贺寿寓意的苍松以突出主题；远景绘起伏叠嶂的山峦，寓寿比南山、生命连绵持续之意。中景是清波碧水，其曲折的水面不仅为画面增添了诗意，而且将远、近景有机地相连成一体，令全图的空间层次分明，同时不失画面的完整性。",[23,24,25,30,114,118,202,540,117,32,63,35,7,500,2808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c28b0ebb2012e66eb252820326bc507.jpg","纵155.3厘米，横86.9厘米",[124],{"id":11416,"slug":11417,"title":11418,"dynasty":223,"author":434,"museum":459,"description":11419,"tags":11420,"thumbUrl":11424,"material":122,"size":179,"collection":124,"collections":11425,"showCount":11212,"zanCount":48,"manualWeight":48,"mainColor":128},215861,"xi-yang-jian-wen-tu-hui-shan-shui-juan-yi-ming-215861","西洋见闻图绘-山水卷","长卷铺展，海天一色间山峦错落，岛屿星罗。水墨晕染的峰峦间，藏着红瓦聚落、挺拔灯塔，中西帆船往来于碧波之上，帆影点点。传统散点透视下，异域风光与东方笔墨相融——苍劲的树木、层叠的山石是中式山水的韵致，而港口的布局、船只的形制又带着西洋印记。淡蓝的水色衬着赭黄的山岗，清润雅致中，流动着海上贸易的鲜活气息。这幅作品以东方视角记录异域见闻，既是笔墨的诗意表达，亦是中西文化碰撞的视觉见证，于舒展的画卷里，藏着时代的风物与交流的温度。",[23,24,26,28,29,30,3817,66,69,7,11421,11422,1288,5759,9756,243,38,35,11423,1420],"灯塔","港口","海岸线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ed23f974fe4e3f09f3a7e2f129b61d.jpg",[124],{"id":11427,"slug":11428,"title":11429,"dynasty":54,"author":434,"museum":459,"description":11430,"tags":11431,"thumbUrl":11432,"material":808,"size":809,"collection":179,"collections":11433,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":49},290419,"fang-fan-kuan-xi-shan-xing-lv-tu-yi-ming-290419","仿范宽溪山行旅图","此作用笔沉郁苍厚，主峰拔地而起，以密集皴法刻画山石肌理，尽显山峦雄浑磅礴的质感。山间烟岚轻笼，虚实相生，将高旷幽深的山野意境铺陈开来。下方林麓环合，流泉自幽谷间蜿蜒而出，板桥山居隐于林木之中，静穆里藏着灵动生机。整体追摹北派山水的雄浑气象，既复刻出山野荒寒之态，又暗合沉静意韵，把大山大水的壮阔与林泉幽居的闲逸融为一体，是颇具古韵功力的山水佳作。",[24,475,202,114,118,5357,204,206,7,60,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096a6ea931c37ee34c32a9f99876af1c.jpg",[],47,{"id":11436,"slug":11437,"title":11438,"dynasty":223,"author":11439,"museum":459,"description":11440,"tags":11441,"thumbUrl":11442,"material":179,"size":179,"collection":179,"collections":11443,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":128},239211,"fang-fu-chun-shan-ju-tu-juan-gao-shu-cheng-239211","仿富春山居图卷","高树程","此作用干笔淡墨追摹原作意趣，以披麻皴晕染山峦，丘壑连绵起伏，层层铺展。汀渚萦回于烟波之间，林木错落苍秀，将富春山水的空濛温润缓缓铺陈。\n\n笔墨松灵温润，萧散简远，既复刻了原作的淡远疏旷，又融入自身静穆雅致的笔意，不刻意摹形，更重追摹那份江南山水的悠然意趣，咫尺长卷见千里江山之态，尽显文人山水平和疏朗的意境。",[23,24,25,26,114,60,118,30,7,115,156,243,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfcbdf55fbaf80a9674d7aee012cfa74.jpg",[],{"id":11445,"slug":11446,"title":11447,"dynasty":223,"author":11448,"museum":20,"description":11449,"tags":11450,"thumbUrl":11451,"material":40,"size":11452,"collection":124,"collections":11453,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":49},238666,"shan-shui-lou-ge-tu-zhou-shen-yuan-238666","山水楼阁图轴","沈源","受“海西法”影响的新型建筑画在清代宫廷内曾经十分盛行，当时称为“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“于阴阳远近，不差锱黍。…… 布影由阔而狭，以三角量之。画宫室与墙壁，令人几欲走进”的立体效果。从此幅沈源的作品中可以看到“线法画”的痕迹，虽然由于受到中国审美传统的限制，画面中西洋绘画的一些效果在一定程度上有所淡化，但是与传统的建筑画相比，此时的画家表现三维景物的能力确实有了相当大的提高。",[24,25,202,59,28,30,62,116,7,61,29,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d809bb2714a20a923bebe202091254.jpg","纵135厘米，横74.8厘米",[124],{"id":11455,"slug":11456,"title":11457,"dynasty":54,"author":4131,"museum":20,"description":11458,"tags":11459,"thumbUrl":11460,"material":1218,"size":11461,"collection":124,"collections":11462,"showCount":11434,"zanCount":928,"manualWeight":48,"mainColor":128},234806,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-qian-ren-zuo-tu-ye-wen-jia-234806","吴门诸家寿袁方斋三绝册-千人座图页","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[24,25,385,28,30,118,61,116,117,7,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0427d2997d7f999e233f980c215411ae.jpg","22.2*26.7cm",[124],{"id":11464,"slug":11465,"title":6010,"dynasty":54,"author":5967,"museum":459,"description":11466,"tags":11467,"thumbUrl":11469,"material":179,"size":179,"collection":179,"collections":11470,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":49},234805,"ren-wu-zhou-xie-shi-chen-234805","谢时臣（1487—？），明代画家。字思忠，号樗仙。长洲（今江苏苏州）人，八十一岁时尚在世。工书法，长于隶书 。擅山水 ，师法吴镇、沈周，稍作变化，兼有“浙派”和“吴门派”笔法，风格独特。\n作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作 山峦重叠 ，高耸险峻 ，笔墨 或细密苍劲 ，或劲健沉郁，或纵横纷披，富有变化。有《溪山揽胜图》《策杖寻幽图》《武当霁雪图》《谪仙玩月图》等传世。",[24,25,202,28,118,61,7,11468,156,30,426,64],"推车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581618327747e74a9a86d6201e888d63.jpg",[],{"id":11472,"slug":11473,"title":11474,"dynasty":223,"author":8347,"museum":20,"description":11475,"tags":11476,"thumbUrl":11477,"material":140,"size":179,"collection":331,"collections":11478,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":128},234108,"hua-hong-li-du-jiang-shi-yi-juan-zhang-zong-cang-234108","画弘历渡江诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[24,25,26,28,30,32,66,3817,488,7,117,153,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg",[331,124,45],{"id":11480,"slug":11481,"title":2626,"dynasty":18,"author":11482,"museum":459,"description":11483,"tags":11484,"thumbUrl":11485,"material":179,"size":179,"collection":179,"collections":11486,"showCount":11434,"zanCount":928,"manualWeight":48,"mainColor":985},231022,"xia-shan-tu-qu-ding-231022","屈鼎","此作以全景铺展夏景山水，层峦叠嶂间烟岚轻萦，将盛夏山野的湿润苍翠晕染开来。山脚林木蓊郁繁茂，涧水穿林漱石，奔涌有声；江面波平水阔，帆影悠悠漾开水乡清宁。\n笔墨兼南北之妙，山石以硬朗勾勒配浅淡皴擦，既塑出雄奇山势，又以水墨晕染衬出山岚水汽的空濛柔润。整体意境兼具山野深幽与江天开阔，将盛夏山林的蓬勃生机与静谧空寂相融，尽显山水间的诗意野趣，藏着宋画写实又写意的隽永意韵。",[23,152,24,25,26,114,28,30,31,7,32,115,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923d6bb1796e097af3fbb0e3372b8990.jpg",[],{"id":11488,"slug":11489,"title":11490,"dynasty":223,"author":858,"museum":514,"description":859,"tags":11491,"thumbUrl":11492,"material":140,"size":869,"collection":179,"collections":11493,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":128},230105,"hong-lou-meng-186-sun-wen-230105","红楼梦186",[24,25,29,28,59,61,170,62,70,7,994,540,117,173,2450,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4501237256ff4155c35bcd53221f87ba.jpg",[],{"id":11495,"slug":11496,"title":11497,"dynasty":54,"author":801,"museum":167,"description":11498,"tags":11499,"thumbUrl":11500,"material":303,"size":11501,"collection":124,"collections":11502,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":1138},228481,"guan-pu-tu-zhou-tang-yin-228481","观瀑图轴","画面上方描绘瀑布倾泻而下，正是李白《望庐山瀑布水（二首）》其二中的名句“飞流直下三千尺，疑是银河落九天”的意境。近景浓荫之下，巨石突兀，一文士仰卧其上，满目青翠欲滴的树色，远望则千岩万壑。想必那水声、树声交织出的华美乐章令画中人沉醉。此图构图雄奇，笔法狂放，或横，或竖，或卷，不拘一格，任意挥洒，看似草草，实则内蕴雄浑沉厚的张力。",[24,25,202,114,30,204,7,117,61,64,37,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d863025c22e5c994d3525d679e99f5.jpg","103.6x30.3",[124],{"id":11504,"slug":11505,"title":11506,"dynasty":133,"author":355,"museum":459,"description":11507,"tags":11508,"thumbUrl":11509,"material":179,"size":179,"collection":179,"collections":11510,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":49},228083,"shuang-song-tu-wang-meng-228083","双松图","此作用双松撑起画面骨架，古松扎根嶙峋顽石，枝干虬曲扭转如苍龙探海，松针攒簇苍劲，带着历经岁月的沉凝古拙。\n以干笔皴擦写出斑驳松皮，枯墨见笔力，淡墨晕染远景平沙远渚，留白疏朗空寂，以简淡衬出双松的雄浑厚重，将高远与平远意境相融。\n错落题跋与画面相映成趣，诗文的林下幽怀和萧散画境合二为一，笔墨间满溢林泉隐逸之趣，仿佛能让人枕松听浪，静看云卷云舒，尽显元人尚意的画中真味。",[23,152,24,25,202,114,118,228,540,117,30,7,358,5405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8baca3f8b4fccb2a156d2bb5fa09314a.jpg",[],{"id":11512,"slug":11513,"title":11514,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":11515,"thumbUrl":11518,"material":808,"size":809,"collection":3244,"collections":11519,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":128},225939,"haystack-in-the-morning-snow-effect-1891-mo-nai-225939","Haystack in the Morning, Snow Effect, 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此作山石樹法與北京故宮所藏趙左萬曆四十一年繪製的山水冊近似，疑為趙左代筆、董其昌題款的作品。",[23,24,25,202,114,28,118,30,7,117,32,35,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc7b8372b4b3ac2ca482b3a013bba9b.jpg","绢本浅设色","12×48.7厘米",[124,45],{"id":11589,"slug":11590,"title":11591,"dynasty":1743,"author":5114,"museum":11592,"description":11593,"tags":11594,"thumbUrl":11596,"material":179,"size":179,"collection":179,"collections":11597,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":128},220581,"shan-hu-shui-qing-qi-huang-bin-hong-220581","山湖水清气","Hong Kong Museum of Art","此作用笔苍浑华滋，以焦墨积染绘近处茂林，层叠草木间晕开青绿淡赭，将山野蓬勃生机尽数铺展。水畔茅舍静立，泊岸小舟轻倚，行船渔者悠然划破水面，动静相生，把山居渔隐的闲逸揉入湖山之间。\n\n远景山峦以淡墨轻勾，朦胧清浅，与近景的浓郁苍郁形成虚实对照，留白处晕出水气氤氲的浩渺湖面，清润之意扑面而来。笔墨兼具浑厚与灵秀，将江南山湖的清寂温润凝于笔底，仿若踏入这幽宁天地，浸在清润山野气息中，漫品这份静谧悠然的林下意趣。",[23,24,114,28,118,30,7,32,115,11595,639],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b60bc42a4857c41184dcc898aecd8d.jpg",[],{"id":11599,"slug":11600,"title":11601,"dynasty":54,"author":110,"museum":1202,"description":5869,"tags":11602,"thumbUrl":11603,"material":360,"size":11604,"collection":179,"collections":11605,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":128},220028,"dong-zhuang-tu-ce-zhi-mai-shan-shen-zhou-220028","东庄图册之麦山",[23,24,114,118,385,30,7,35,10852],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0570bce3a0471b6a4cdf4fab5fb6e623.jpg","28.6cm×33cm",[],{"id":11607,"slug":11608,"title":11609,"dynasty":133,"author":10132,"museum":11610,"description":11611,"tags":11612,"thumbUrl":11613,"material":303,"size":11614,"collection":124,"collections":11615,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":128},219943,"cheng-xi-jing-yue-tu-ma-wan-219943","澄溪静樾图","辛辛那提艺术博物馆","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。江苏南京人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[23,152,24,25,202,114,118,30,63,64,117,7,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f75498f05d30a6b58ef024fbc5bd1b.jpg","58.5x31.0厘米",[124],{"id":11617,"slug":11618,"title":11619,"dynasty":54,"author":801,"museum":382,"description":11620,"tags":11621,"thumbUrl":11622,"material":303,"size":11623,"collection":124,"collections":11624,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":128},219799,"xi-shan-cao-tang-tu-tang-yin-219799","西山草堂图","这幅手卷名为《西山草堂》。它描绘了暮色朦胧中的山水风光。河岸青山连绵起伏。在画面前方，一位学者坐在他的乡村小屋里，享受着乡村隐居生活。打开手卷，可以看到更多的山水景色。将手卷展开，从左方一弯水路映入眼帘。这幅画有唐寅的亲笔题词。乾隆皇帝曾经也拥有过这幅画，画上有乾隆皇帝在公元1751年的题词。在山水画的下方有后来的收藏者和鉴赏家留下的11段文字，他们对画作或画家进行了评论。",[24,26,114,28,30,2112,7,35,34,500,118,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412ecac14e5fb577bdedc689f4edd938.jpg","32x876.8cm",[124],{"id":11626,"slug":11627,"title":11628,"dynasty":18,"author":575,"museum":11610,"description":11629,"tags":11630,"thumbUrl":11631,"material":122,"size":11632,"collection":42,"collections":11633,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":128},219697,"shang-shan-si-hao-tu-ma-yuan-219697","商山四皓图","《商山四皓图》绘秦末汉初隐居于商山（今陕西省商洛市境内）的四位高士之超迈风神。画中绘冈峦起伏、老树横斜之景，四位高士或策杖而立，或对弈酣战，俊逸磊落。全卷以水墨绘成，山石用马远标志性的“大斧劈皴”，笔法流畅淋漓，苍劲有力。即便该作并非马远亲笔，就其珍贵的艺术性和历史价值，仍应为世人所重。",[23,24,25,4253,29,28,61,30,7,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4b037bb9f139acf9d6f48ab5a68345.jpg","纵33.0厘米 横307.3厘米",[42,44],{"id":11635,"slug":11636,"title":11637,"dynasty":54,"author":3786,"museum":111,"description":11638,"tags":11639,"thumbUrl":11640,"material":122,"size":11641,"collection":44,"collections":11642,"showCount":11434,"zanCount":928,"manualWeight":48,"mainColor":128},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[23,54,24,25,26,28,29,120,119,153,61,62,116,7,117,70,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[44,1822],{"id":11644,"slug":11645,"title":11646,"dynasty":133,"author":4160,"museum":167,"description":11647,"tags":11648,"thumbUrl":11649,"material":78,"size":179,"collection":179,"collections":11650,"showCount":11434,"zanCount":11,"manualWeight":48,"mainColor":128},218776,"qing-lin-cui-ai-tu-sheng-mao-218776","青林翠霭图","画面轻烟如纱，青林错落生姿，翠霭氤氲漫过山峦。近树以中锋勾出苍劲骨态，侧锋晕染枝叶润意；远山层叠似黛色屏障，皴擦笔触藏着山石厚重。霭气用淡墨晕出虚实，牵起远近景致呼应，让山林浸在朦胧里，似醒非醒。笔墨兼工带写，工致处见细节，疏朗处显逸气，凝住元代文人的林泉之趣。目光游走间，仿佛触到山间润凉，听见风过林梢轻响，心境随翠霭舒展，跌入烟霞缭绕的清幽之境。",[23,24,25,2895,28,30,7,63,64,37,117,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76dd3226144d3acd2cf8d656af4e3d72.jpg",[],{"id":11652,"slug":11653,"title":11654,"dynasty":620,"author":2232,"museum":167,"description":11655,"tags":11656,"thumbUrl":11657,"material":555,"size":11658,"collection":124,"collections":11659,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":128},218706,"shan-ting-wen-dao-tu-ju-ran-218706","山亭问道图","这幅画描绘了一座问路的山，有巨大的岩石和树木，在小溪边有一个小茅草亭，虽然简陋，但里面一定有一个修道的师傅。",[23,24,25,114,28,30,116,341,7,244,37,118,774],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa35c73daf4c527b29a12c205fd5defa.jpg","18.6x24cm",[124],{"id":11661,"slug":11662,"title":11663,"dynasty":18,"author":239,"museum":167,"description":11664,"tags":11665,"thumbUrl":11668,"material":78,"size":11669,"collection":124,"collections":11670,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":128},218686,"yan-yu-jiang-fan-tu-guo-xi-218686","烟雨江帆图","这幅画描绘了秋雨中从泉水中升起的瀑布，一个撑着伞的行人，以及远处的河帆。这是郭熙图的一个更正式的版本，应该是明清两代的模仿对象。",[24,25,114,28,118,30,6897,11666,115,117,7,37,4848,500,674,11667],"江帆","帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","28.1x27.7cm",[124],{"id":11672,"slug":11673,"title":11674,"dynasty":223,"author":2792,"museum":20,"description":11675,"tags":11676,"thumbUrl":11677,"material":122,"size":11678,"collection":124,"collections":11679,"showCount":11434,"zanCount":11,"manualWeight":48,"mainColor":128},218369,"dou-he-ben-quan-tu-wang-hui-218369","陡壑奔泉图","此图为王翚于康熙十五年（1676年），时年四十五岁时所作，仿王蒙画法，皴法细腻，墨色干湿相间，层次分明，气韵秀润。该图为清宫旧藏。",[23,24,25,202,114,118,30,7,540,117,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843436601bf77f374d0da682061f8e02.jpg","纵74.3厘米，横31.4厘米",[124],{"id":11681,"slug":11682,"title":8318,"dynasty":54,"author":434,"museum":382,"description":11683,"tags":11684,"thumbUrl":11685,"material":78,"size":11686,"collection":44,"collections":11687,"showCount":11434,"zanCount":928,"manualWeight":48,"mainColor":49},218368,"luo-han-tu-yi-ming-218368","这幅画与林廷珪、周继昌的《五百罗汉受虎贲图》是同一题材，其笔触和色彩也与宋代的画作相近。大英博物馆将这幅画归于明代，但如果我们参照台北故宫收藏的《十六罗汉双肩图》来看，我们可以认为它是在元代绘制的。",[24,28,29,923,61,1067,4537,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01738ac3829421493eb90de1e7375c9f.jpg","170.5x88",[44],{"id":11689,"slug":11690,"title":2495,"dynasty":54,"author":11691,"museum":423,"description":11692,"tags":11693,"thumbUrl":11694,"material":78,"size":11695,"collection":124,"collections":11696,"showCount":11434,"zanCount":928,"manualWeight":48,"mainColor":49},218309,"fang-huang-gong-wang-shan-shui-tu-ying-huang-218309","应黄","笔墨苍润清逸，承黄公望山水遗风。山峦以淡墨皴染，叠嶂起伏间见空灵之致；林木萧疏有致，或挺拔或欹侧，与山石相映成趣。屋舍隐于林泉深处，隐约可见，似藏幽居之境。画面气脉连贯，远近层次分明，淡赭底色更添古雅质感。虽为仿作，却于笔墨间流露自身心性，尽显文人画中寄情山水、追求清雅的雅致情怀，观之令人心生悠然之意。",[152,24,25,30,60,28,118,114,341,7,35,64,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe654dfe126da316ec152c9d55c386cf.jpg","35.5x24.9cm",[124],{"id":11698,"slug":11699,"title":11700,"dynasty":133,"author":434,"museum":111,"description":11701,"tags":11702,"thumbUrl":11704,"material":78,"size":11705,"collection":124,"collections":11706,"showCount":11434,"zanCount":48,"manualWeight":48,"mainColor":49},218220,"xue-xi-mai-yu-tu-yi-ming-218220","雪溪卖鱼图","这是一幅带有民间生活情趣的山水小景。画面以渔舟上卖鱼的蓑翁与酒店里买鱼的食客为中心，著笔虽然不多，却将二人的形象动态表现得活泼有趣。其馀景物颇为简洁，远山尤为洗练概括，树木多用短直笔画，点划相间，追求一份简素之意。",[24,25,2895,114,28,30,7,35,61,11703,747,64,639,118],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb9e36dd9d614a500c0ddfca9e4b48b.jpg","25.2x24.6cm",[124],{"id":11708,"slug":11709,"title":11710,"dynasty":54,"author":110,"museum":459,"description":2373,"tags":11711,"thumbUrl":11712,"material":808,"size":809,"collection":179,"collections":11713,"showCount":11714,"zanCount":928,"manualWeight":48,"mainColor":128},290882,"hua-bai-cai-shen-zhou-290882","画白菜",[24,114,385,30,818,63,64,7,138,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd825cee9559ff66734a5ef59f26de2b.jpg",[],46,{"id":11716,"slug":11717,"title":11718,"dynasty":133,"author":636,"museum":459,"description":11719,"tags":11720,"thumbUrl":11721,"material":808,"size":809,"collection":179,"collections":11722,"showCount":11714,"zanCount":11,"manualWeight":48,"mainColor":49},290818,"hou-chi-bi-fu-tu-zhou-wu-zhen-290818","后赤壁赋图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[24,25,202,114,30,115,289,156,61,64,7,153,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8fc9aa4f2daf4de27981cc4e04cc0c.jpg",[],{"id":11724,"slug":11725,"title":11726,"dynasty":54,"author":11727,"museum":459,"description":11728,"tags":11729,"thumbUrl":11730,"material":808,"size":809,"collection":179,"collections":11731,"showCount":11714,"zanCount":928,"manualWeight":48,"mainColor":128},289885,"san-jue-tu-ce-yao-shou-289885","三绝图册","姚绶","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[24,385,30,114,28,1067,154,63,156,116,115,35,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e5ac77e4f56aa826bc7cfe0db28f63.jpg",[],{"id":11733,"slug":11734,"title":11735,"dynasty":18,"author":3371,"museum":459,"description":11736,"tags":11737,"thumbUrl":11740,"material":808,"size":809,"collection":179,"collections":11741,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":128},289788,"shen-tang-qin-qu-tu-ma-lin-289788","深堂琴趣图","此图描写山斋数楹，葱树掩映，一人于堂中抚琴，二鹤在琴声中闲步。远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。",[23,2895,24,152,28,29,30,62,63,7,11738,1840,11739,153],"厅堂","雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f01482f6dbe10ed17a90037b2e3219.jpg",[],{"id":11743,"slug":11744,"title":2580,"dynasty":133,"author":134,"museum":20,"description":2581,"tags":11745,"thumbUrl":11746,"material":1218,"size":2584,"collection":179,"collections":11747,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":128},233745,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-233745",[24,25,202,30,114,118,2113,7,540,117,243,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1070ac311ec6c2b81b3e0fff9701a55d.jpg",[],{"id":11749,"slug":11750,"title":11751,"dynasty":18,"author":239,"museum":20,"description":11752,"tags":11753,"thumbUrl":11756,"material":1410,"size":11757,"collection":179,"collections":11758,"showCount":11714,"zanCount":928,"manualWeight":48,"mainColor":128},232992,"chun-jiang-fan-bao-tu-ye-guo-xi-232992","春江帆饱图页","《春江帆饱图》传为郭熙作品，其画风也与郭熙相似。原载《四朝选藻册》，绘远岫高松，中分一水。右岸竹离茅舍，窜石丛林。岸边二帆船停泊。远方夕阳西下，江水如潮。二小船饱帆破浪前进，从而点出了画面的主题。图中远山用淡墨勾染，浓墨点小树，松树，帆船用细笔勾描。全图笔法缜密严谨，画风学郭熙一派而又另立新意，不愧是宋期小幅山水的佳作。画面无款。对幅有清高宗弘历的题诗。此作曾经清内府收藏，《石渠宝笈续编》著录。",[24,25,385,30,114,118,115,579,117,64,7,1288,11754,500,11755],"江岸","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F757940eae81773af499baea0cc31c22e.jpg","纵26.2厘米，横27厘米",[],{"id":11760,"slug":11761,"title":11762,"dynasty":223,"author":4731,"museum":111,"description":11763,"tags":11764,"thumbUrl":11765,"material":140,"size":11766,"collection":179,"collections":11767,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":49},231939,"zhan-yuan-tu-yuan-jiang-231939","瞻园图","在中国的传统山水画科中，有一种需要借助界笔、直尺来刻画线条以表现各种建筑物的画，称为“界画”。这种用界笔、直尺作画的方法适于表现帝王宫苑、庙宇寺观、亭台楼榭、舟车桥梁等等，体现古代建筑之美。界画尽精入微，耗时费力。画家不仅需要通晓建筑知识，还需要有高超的专业技术。所以，画界画就不能像文人戏墨那样酣畅淋漓、乘兴挥写，常被文人画家视为“其术近苦”，长期以来受到人们的贬抑和轻视。然而，钟情于界画、甘于寂寞之道、终有所成者代不乏人。清代画家袁江就是其中翘楚。\n《瞻园图》卷绢本设色，纵 51.5 厘米，横 254.5 厘米。瞻园原系明朝开国元勋徐达府邸的西圃，乾隆帝曾御题“瞻园”匾额。整幅画卷采用平展式的构图方式描绘物象。画面以一池湖水为中心，环湖有低山、树木、回廊、水榭、楼阁等。庭院内草木葱郁，柳树垂荫，奇花异卉争奇斗艳。楼屋、廊轩回环错落，分布有致。在一处挂有“一览楼”牌匾的高楼上，主人正在会见宾客。庭院中仆人洒扫、童子嬉戏，一派生气勃勃、安静祥和的生活气息。高高的院墙成为苑囿和外界的明显界限。墙垣外密集的民房，或冲出画面之外，或隐没于烟霭之中。远景的楼观、寺塔隐现于云雾之中，虚淡缥缈、扑朔迷离，给人以无限的遐想空间。卷尾画家楷书题写“袁江图”，下钤朱文印“文涛”和白文印“袁江之印”。在《瞻园图》卷中，画家注重对山石、树木外轮廓的描画以及用线的起伏变化。山石的皴法或雨点皴、或骷髅皴，皆卷曲玲珑。袁江精于晕染设色。据高其佩《指头画说》记载，高其佩的指画就曾得到袁江的秀笔妙染。\n袁江生活在一个文人画盛行的时代，因而他的画并不被当时的士人所重。有清一代，没有人专门为其写过传记，画史上记载其事迹也寥寥数语。袁江曾在山西太原姓尉的富商家里作画，“凡尉姓各家，无论堂、屏、卷、册、灯笼、槅扇之类，无不应有尽有，且每种多至若干幅”（李智超《界画的发展和界画构图的研究》）。袁江初学仇英，中年得无名氏所临画稿，遂画艺大进。对于“无名氏所临画稿”的解释，目前有两种：一种是陈传席先生根据袁江、袁耀的画风所推测的，是宋、元人的工笔山水楼阁画稿；另一种是王伯敏先生认为的，乃民间画工的画稿，因为民间画工的临摹稿一般都不落款，即所谓“无名氏”。袁江的画风工整严谨，继承了传统青绿山水的画法，同时又吸收了民间绘画的精妙，使其山水画呈现出峻异幽奇的境界，形成了自己独特的艺术风格。\n中国传统的界画，建筑物的表现手法不同于西洋绘画的焦点透视，而是采用了等角透视——向视平线延伸的各种直线呈平行状态而不交汇于灭点，这样物象就没有了近大远小的变化。而平行的四边形相对两角为等角，故而称之为等角透视。东晋顾恺之在其《魏晋胜流画赞》中说：“台榭一定器耳，难成而易好，不待迁想妙得也。”建筑物需要按照一定的规则结构来画，丝毫不能疏忽。由于这类画用笔、构图精致细密，所以容易见好。然而，要想真正画出建筑物严谨工巧、玲珑剔透的美感，却非易事。《瞻园图》卷中，画家采用“以大观小”的鸟瞰式描绘（这是传统界画所惯用的方法）。这种居高临下的观察方法和表现方式，易于把握景物全貌，能够同时体现建筑物的正、侧、顶三面，使物象更加完整、更加立体。在对秩序规整的建筑物的刻画上，袁江十分注重用线和用色的变化。如屋顶的外廓、台榭的立柱等所画的线条要粗一些，颜色也稍微重一些；而画瓦片、窗格等用线则相对细一些，颜色也淡一些。近处的建筑物整体用线较粗，远处的建筑物整体用线较细。画面中，物象精微准确，但又没有被绳墨所拘；粗细、浓淡、主次，对比协调统一，笔画匀壮，深远通透，增强了秩序感和空间感。\n袁江的《瞻园图》卷以真实的园林景色为依据，并融入自己丰富的想象。楼阁长廊、云雾缭绕，仿若仙境。名山大川、奇园异境经过画家画笔的夸张、变化，而出现异样的画境。袁江将雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，有力地提高了界画的表现力，开一代界画之新风。",[23,59,29,28,30,62,116,7,117,1390,63,70,69,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1713b2c697e2ee16c0e4744b7f3fa.jpg","纵 51.5 厘米，横 254.5 厘米",[],{"id":11769,"slug":11770,"title":11771,"dynasty":223,"author":381,"museum":459,"description":11772,"tags":11773,"thumbUrl":11774,"material":179,"size":179,"collection":179,"collections":11775,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":128},228976,"shan-shui-ce-12-kai-shi-tao-228976","山水册12开","此帧取峡谷行舟之景，以淡赭浅绿晕染峰峦，笔墨清润秀雅。江流蜿蜒淌过春色，两岸崖石简括空灵，枯槎倒挂于危岩，野趣暗生。扁舟篷屋静立，舟子缓棹行于碧波，将羁旅闲意揉进烟岚里。\n\n左侧题诗与山水相契，把远客随波逐流的幽寂心境藏在空濛山色中。画师以灵动简约的笔法，融山川清旷与江湖行旅的澹泊诗意于一纸。不着浓艳重彩，仅以浅墨淡彩铺陈暮春江峡的柔婉空蒙，寥寥数笔便勾画出天地间的悠然意趣，引观者随舟驶入这片清远绝尘的山水烟霞，沉醉于疏朗安闲的世外情致之中。",[24,25,385,28,114,30,115,64,117,7,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eda3d02caac8e2863fc2d9a4078a1ad.jpg",[],{"id":11777,"slug":11778,"title":11779,"dynasty":133,"author":4160,"museum":167,"description":11780,"tags":11781,"thumbUrl":11782,"material":140,"size":11783,"collection":179,"collections":11784,"showCount":11714,"zanCount":928,"manualWeight":48,"mainColor":49},228044,"xi-shan-qing-xia-tu-zhou-sheng-mao-228044","溪山清夏图轴","《溪山清夏图》绘崇山复岭，白云缭绕，楼阁掩映于丛树之中。近景溪水环绕，岸边筑有水阁亭榭，为可游可居之景。图中人物或于水榭纳凉，或悠游林下。构图繁复深曲，用长披麻皴表现山石，繁皴密点。界画楼阁严整，人物工能精谨，云霭以线勾勒，复染色彩。全图画法精巧，体现出盛懋在受文人画家影响的同时所具备的职业画家的一些特点。",[24,25,202,28,118,30,62,7,117,206,358,500,2808,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f46afb98159ce1ffbc7ee3adb4a1a9.jpg","纵204．5厘米，横108.2厘米",[],{"id":11786,"slug":11787,"title":7490,"dynasty":18,"author":198,"museum":459,"description":11788,"tags":11789,"thumbUrl":11790,"material":179,"size":179,"collection":179,"collections":11791,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":49},227578,"xue-shan-lou-ge-tu-fan-kuan-227578","北宋，范宽作, 绢本设色，传范宽，纵182.4 厘米，横103厘米。\n\n此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。\n\n现藏美国波士顿美术博物馆。\n\n范宽（生卒不详）：本名中正，字中立（又作仲立，因性情宽和，不拘成礼，时人呼之为“宽”，遂以范宽自名。华原（今陕西耀县）人。据《宣和画谱》记载，他“风仪峭古，进止疏野，性嗜酒，落魄不拘世故”。山水初学李成，继法荆浩，后感“与其师人，不若师诸造化”，因移居终南山、太华山，对景造意，不取繁饰，自成一家。宋人将其与关仝、李成并列，誉为“三家鼎峙，百代标程”。后人将之与李成、董源二人合称“宋三家”，之后的“元四家”、明朝的唐寅，以至清朝的“金陵画派”和现代的黄宾虹等大师，都受到范宽画风的影响。",[23,152,24,25,202,118,114,30,341,747,62,7,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa375bbe146b99d0065149a804c5dc346.jpg",[],{"id":11793,"slug":11794,"title":11795,"dynasty":223,"author":1533,"museum":459,"description":11796,"tags":11797,"thumbUrl":11798,"material":179,"size":179,"collection":179,"collections":11799,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":128},224478,"fang-fan-kuan-shan-shui-li-zhou-wang-jian-224478","仿范宽山水立轴","此作用笔取法北派山水意趣，主峰巍峨崔嵬，以密集的雨点皴摹写山石肌理，将岩体质感的浑厚苍莽尽显无遗。褶皱间晕染留白，云气蒸腾游走，为峻峭山体晕开空濛灵秀。\n飞瀑层叠穿流于深谷，灵动水意打破山峦沉郁。山坳坡脚隐现村舍古寺，林下幽人策驴徐行，将山野烟火意趣融于雄阔山水间，刚柔相济。\n整作墨色浓淡相宜，主次分明，师法先贤又自出情致，在厚重苍莽中暗藏细腻温婉，是师古化新的精妙手笔。",[23,24,25,202,114,118,60,30,204,7,62,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e948ce6ac35fc4fa235ff25f0ffea0.jpg",[],{"id":11801,"slug":11802,"title":11803,"dynasty":223,"author":2792,"museum":551,"description":11804,"tags":11805,"thumbUrl":11806,"material":11807,"size":11808,"collection":124,"collections":11809,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":128},224461,"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[23,24,25,26,114,28,30,118,119,120,153,341,342,540,62,7,289,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg","纸本，淡设色","纵25cm，横236cm",[124,103],{"id":11811,"slug":11812,"title":11813,"dynasty":54,"author":11317,"museum":658,"description":11814,"tags":11815,"thumbUrl":11816,"material":230,"size":11817,"collection":124,"collections":11818,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":128},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[24,25,26,28,30,118,114,243,244,7,206,37,63,138,289,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[124,45],{"id":11820,"slug":11821,"title":11822,"dynasty":54,"author":11317,"museum":368,"description":11823,"tags":11824,"thumbUrl":11829,"material":3758,"size":11830,"collection":124,"collections":11831,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":128},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[23,24,26,28,118,30,117,7,62,116,63,64,37,500,3755,2421,11825,1044,1705,206,246,245,11826,11827,11828],"丘壑","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","30cmx590cm",[124,45],{"id":11833,"slug":11834,"title":11835,"dynasty":54,"author":8650,"museum":11836,"description":11837,"tags":11838,"thumbUrl":11839,"material":40,"size":11840,"collection":179,"collections":11841,"showCount":11714,"zanCount":928,"manualWeight":48,"mainColor":49},222602,"qiu-shan-xing-lv-tu-zhou-lan-ying-222602","秋山行旅图轴","河北省博物馆","此画远山耸峙，树木苍劲，红叶明丽，野桥曲径，桥上一老者骑驴款款而过，其后有荷物及策仗者相随。构图气势雄伟，笔势雅健清逸，为蓝氏刻意之作。图作于清顺治十三年（1656年），时年七十二岁。",[23,24,202,30,118,28,341,342,115,7,62,117,32,503,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e6bf379581e527114f0c1753e94efe.jpg","纵186.5、横69厘米",[],{"id":11843,"slug":11844,"title":11845,"dynasty":54,"author":11846,"museum":658,"description":11847,"tags":11848,"thumbUrl":11849,"material":140,"size":11850,"collection":124,"collections":11851,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":1138},222549,"ma-shi-yan-yu-tu-sheng-ying-222549","马嗜烟雨图","盛颖","此图绘寺庙景色。寺院墙外树木、楼阁处于云烟细雨中，有一种缥缈梦幻之意境；院内庙宇数座，可见正前方大雄宝殿中立一大鼎，房前树木粗壮苍翠。全图以俯视视角绘出，房屋建造遵循南北趋势，院中有院，整个建筑宏大考究。",[23,24,25,28,59,153,62,7,37,63,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6424afaa9502d7f9fa2aca839f973ae5.jpg","28.3×56.84cm",[124,45],{"id":11853,"slug":11854,"title":11855,"dynasty":54,"author":11856,"museum":20,"description":11857,"tags":11858,"thumbUrl":11859,"material":11860,"size":11861,"collection":124,"collections":11862,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":49},222418,"yu-zhou-du-shu-tu-zhou-jiang-song-222418","渔舟读书图轴","蒋嵩","画家用简练概括的手法，表现群山绕湖、轻舟横渡的清旷之景。湖面上一条篷船荡漾，船尾一人静坐读书，船头渔夫用力撑篙，钓竿斜插于船上，表现了文人士大夫闲适安逸的生活情趣。在画法风格上，山石虽有斧劈皴的痕迹，但不像马远、夏圭那样坚硬外露，而是落笔草草，水墨晕染浓淡相宜，此为蒋嵩粗笔水墨山水画的典型之作。",[23,24,25,202,114,28,30,115,61,7,244,64,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a10da506d8018ca9417d66edb6c543f.jpg","绢本设色粗笔墨","纵171厘米，横107.5厘米",[124,103],{"id":11864,"slug":11865,"title":3186,"dynasty":54,"author":4230,"museum":167,"description":11866,"tags":11867,"thumbUrl":11880,"material":555,"size":11881,"collection":179,"collections":11882,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":49},222039,"feng-yu-gui-zhou-tu-dai-jin-222039","在布局上，作者采用中轴线构图，高山置于画面右边。近景处，树木、山崖、归舟相互依照；中景处，芦苇、枯树、溪桥、村舍、竹林、远山错综而不杂乱；远景处，高山重叠，远山迷蒙，在雾气中若隐\n若现。画中虽然表现的是雨景，但景物自近而远，层次清楚明晰，将雨中急归之心表现得淋漓尽致。画面近处的岩石和归舟，一静一动，对比鲜明，使构图统一中有了变化，更加突出风雨归舟的主题。横跨两岸的溪桥使得左轻右重的景物连成一个整体。溪桥上冒雨赶路的农夫，被作者刻画得惟妙惟肖，一个个显示出匆忙急切的神态。中景处的芦苇更是突出了风势的狂猛劲厉。\n该图章法新奇独特而巧妙，笔墨兼工带写，显出豪放洒脱而湿润空的意境，成功表现了风雨交加的自然景色和特定环境中的人物情态。图中树石用笔刚劲犀利，气势雄壮，以大斧劈带水墨破刷出的山石，生动地表现出瘦硬多棱角的特征，强烈地显示了山石的质感和立体感，并运用虚实相生的手法，刻画出雨中山川的神奇境界和耸拔气象。近岸树木作者用了夹叶法和点叶法，芦苇和竹林用了撇笔介字点，一笔一画，笔笔到位，刻画出狂风中摇曳的形象。狂风大雨用大笔挥扫，增添了画面的气势，从豪纵的笔势之中，可以看出画家愤笔疾挥的饱满激情。\n画中戴进成功运用浅设色而水墨苍劲淋漓的技法，以横刮阔笔扫出狂风大雨， 所画斜风骤雨、树枝弯曲、逆舟雨伞，最充分地表现出狂风暴雨的运动感。作者对墨的浓淡干湿变化应用自如，雨暴风狂的气象于指腕间飒然而起，充分显示了画家的深湛功力和注重观察自然的可贵精神。",[23,24,475,4014,114,11868,118,11869,11870,11871,5357,4393,7,2113,1376,994,11872,2296,504,500,244,11873,11874,11875,11876,11877,11878,11879],"浅设色","大斧劈皴","夹叶法","点叶法","溪桥","狂风","骤雨","农夫","豪放洒脱","湿润空濛","急切","匆忙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33f9516f633907b22ad111e8d5e3ee4.jpg","纵143 厘米，横81.8 厘米",[],{"id":11884,"slug":11885,"title":11886,"dynasty":223,"author":2792,"museum":56,"description":11887,"tags":11888,"thumbUrl":11889,"material":303,"size":11890,"collection":124,"collections":11891,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":128},220415,"qiu-jing-shan-shui-tu-wang-hui-220415","秋景山水图","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,114,28,118,30,117,7,64,116,2869,243,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3155ce21c8b276af793c7fd0c681c43.jpg","57.2x40.6厘米",[124],{"id":11893,"slug":11894,"title":11895,"dynasty":223,"author":3775,"museum":20,"description":11896,"tags":11897,"thumbUrl":11898,"material":122,"size":11899,"collection":124,"collections":11900,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":128},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[23,152,24,25,26,114,118,30,7,37,32,115,500,2695,38,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[124,45],{"id":11902,"slug":11903,"title":11904,"dynasty":54,"author":110,"museum":1202,"description":5869,"tags":11905,"thumbUrl":11906,"material":360,"size":5873,"collection":179,"collections":11907,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":128},220029,"dong-zhuang-tu-ce-zhi-guo-lin-shen-zhou-220029","东庄图册之果林",[23,24,114,385,118,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7883293037442bb32ef56c41bce1454.jpg",[],{"id":11909,"slug":11910,"title":11911,"dynasty":54,"author":110,"museum":1202,"description":5869,"tags":11912,"thumbUrl":11913,"material":122,"size":5873,"collection":179,"collections":11914,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":49},220013,"dong-zhuang-tu-ce-zhi-ling-hao-shen-zhou-220013","东庄图册之菱豪",[23,24,25,385,114,118,30,63,64,115,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4a28346fc8e2c3bbd7ccab578d205d.jpg",[],{"id":11916,"slug":11917,"title":11918,"dynasty":54,"author":11919,"museum":167,"description":11920,"tags":11921,"thumbUrl":11922,"material":114,"size":179,"collection":103,"collections":11923,"showCount":11714,"zanCount":928,"manualWeight":48,"mainColor":49},219373,"shan-shui-tu-dan-chi-qiao-ge-wang-wen-219373","山水图-丹池樵歌","王问","山峦层叠如浪涌，皴笔与墨染交织，苍润中透着秀逸之气。峰麓间林木葱茏，几椽屋舍隐于幽径旁，似藏着尘外闲情。右下角人影孑立，许是负薪而归的樵者，虽无歌声入耳，却能从那悠然的姿态里，想见林泉间清歌回荡。淡墨晕出空濛氛围，山石的厚重与林木的疏朗相映，既显自然雄浑，又含文人雅致。丹池边的樵歌意趣，融于山水静谧之中，仿佛踏入一片远离尘嚣的桃源，心随画境渐次安宁。",[24,28,118,202,30,7,61,116,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f213dfe3146bfc7ca66ed0f86cc217.jpg",[103],{"id":11925,"slug":11926,"title":4756,"dynasty":133,"author":434,"museum":167,"description":11927,"tags":11928,"thumbUrl":11929,"material":78,"size":11930,"collection":331,"collections":11931,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":49},219239,"hua-hu-tu-yi-ming-219239","松林石涧间,一巨虎黄皮黑纹,毛色鲜丽,体态威武雄壮.虎之双眼,俱以金粉涂饰,并略染汁绿,显得格外神气逼人.其背隆起,宛如张弓欲发,隐然有即将出击之势.虎口微启,低吟而未啸.树梢,二山鹧见状,相与惊跃鸣叫,更为此猛虎出山的场景,平添紧张、不安的气息.通幅描绘如真,渍染极得润厚的韵致.画无名款,旧签定为元人.惟据画风判断,与明代宫廷画风,颇多相近处,是以推断,本幅或出自明代良工之手",[23,24,202,28,4537,117,7,4163,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb563ac7aba93522a5230f6ac6e3bb83c.jpg","206.5x122cm",[331],{"id":11933,"slug":11934,"title":599,"dynasty":54,"author":2132,"museum":4819,"description":11935,"tags":11936,"thumbUrl":11937,"material":11938,"size":179,"collection":124,"collections":11939,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":128},219099,"shan-shui-tu-zhang-hong-219099","峰峦层叠如聚，皴笔勾勒出山石苍劲肌理，淡墨晕染间藏起峰巅的朦胧。云雾似轻纱漫卷，将远近景致晕染得虚实相生，添了几分空灵缥缈。坡岸处几株古松挺立，枝干虬劲如盘龙，松针细密如簇，尽显岁月雕琢的苍劲之姿。掩映在松影间的村落，屋舍错落，隐于山环水抱之中，烟火气与清寂山水相融，更显雅致。\n\n笔墨兼具刚柔：山石勾勒用劲挺之笔，皴擦见厚重；松枝线条灵动，松针点染细密；云雾留白与淡墨交织，显轻盈。远近层次分明，虚实相映，既有山川雄浑壮阔，又含林泉清幽雅致，仿佛步入一处可居可游的山水胜境，心随景动，沉醉其间。",[23,152,24,25,202,114,118,30,341,342,7,35,37,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[124],{"id":11941,"slug":11942,"title":11943,"dynasty":18,"author":8009,"museum":167,"description":11944,"tags":11945,"thumbUrl":11946,"material":78,"size":11947,"collection":42,"collections":11948,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":128},218948,"qiao-ke-yuan-gua-tu-yi-yuan-ji-218948","乔柯猿挂图","图绘山野之中，两黑一白三只小猿猴在老柏树上嬉戏玩耍。形象生动，用笔细腻，应是从写生中得来。",[23,24,152,29,114,28,1768,7192,117,1855,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c73ab950f34a4402a9ba1c8dd4002e.jpg","24.2x26.4",[42],{"id":11950,"slug":11951,"title":599,"dynasty":133,"author":10373,"museum":167,"description":11952,"tags":11953,"thumbUrl":11954,"material":303,"size":11955,"collection":124,"collections":11956,"showCount":11714,"zanCount":48,"manualWeight":48,"mainColor":49},218826,"shan-shui-tu-fang-cong-yi-218826","这幅画显示了云层耸立在山峰之上，笔触犀利而清晰。人们怀疑这幅画被后来的人裁剪过，而且画的下部有很大一部分缺失，其含义也不完整。张大千捐赠",[23,24,25,114,118,30,117,7,578,579,8640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f63cfb3ccca5dd4dea47902f8e2a9b7.jpg","30.7x46.6厘米",[124],{"id":11958,"slug":11959,"title":11960,"dynasty":54,"author":434,"museum":382,"description":11961,"tags":11962,"thumbUrl":11963,"material":122,"size":179,"collection":179,"collections":11964,"showCount":11714,"zanCount":928,"manualWeight":48,"mainColor":128},217953,"ming-ren-shan-shui-hua-ce-er-yi-ming-217953","明人山水画册(二)","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23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18.8公分",[],{"id":12026,"slug":12027,"title":12028,"dynasty":223,"author":858,"museum":514,"description":859,"tags":12029,"thumbUrl":12032,"material":140,"size":869,"collection":179,"collections":12033,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},230102,"hong-lou-meng-183-sun-wen-230102","红楼梦183",[565,29,28,24,61,62,116,70,269,7,173,170,1344,12030,12031,694],"群像","古典建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c666a7a5a3b8395196307e5628ac27.jpg",[],{"id":12035,"slug":12036,"title":12037,"dynasty":223,"author":2792,"museum":459,"description":12038,"tags":12039,"thumbUrl":12040,"material":179,"size":179,"collection":179,"collections":12041,"showCount":127,"zanCount":928,"manualWeight":48,"mainColor":49},229018,"song-shan-cao-tang-tu-li-zhou-wang-hui-229018","嵩山草堂图立轴","此作以高远、深远之法铺展画面，主峰奇崛巍峨，层岩叠嶂间流泉隐现，尽显山川雄浑苍劲。苍松虬曲盘桓，枝叶繁茂掩映山居草堂，山道萦回穿梭林麓，藏露有度。山脚烟岚轻笼水渚，村居错落生息，晕染出幽寂的林下栖居意趣。\n笔墨糅合南北二宗意趣，干笔皴擦勾勒山石肌理，苔点攒簇皴染，朴拙厚重中不失秀润灵韵，将山野林泉的隐逸雅致与山川壮美联为一体，尽显林泉幽居的清逸意境。",[23,24,25,202,28,118,30,117,7,540,2112,69,504,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537957a672adead014ed280a86cc9ac3.jpg",[],{"id":12043,"slug":12044,"title":12045,"dynasty":223,"author":1431,"museum":368,"description":12046,"tags":12047,"thumbUrl":12049,"material":179,"size":179,"collection":179,"collections":12050,"showCount":127,"zanCount":928,"manualWeight":48,"mainColor":49},229009,"gao-gang-mao-wu-tu-zhou-gong-xian-229009","高岗茅屋图轴","《历代名画宣纸高清大图:龚贤高岗茅屋图》采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图描绘了江南山水，其笔墨劲利而苍厚潮润，苍翠欲滴。\n山石高悬，山随画活；湖水尽白，形成墨白对比，虚实相生。\n《历代名画宣纸高清大图:龚贤高岗茅屋图》由 出版。",[23,24,25,202,114,118,30,12048,358,7,244,994],"山岗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c33871e5f3f8e6492d8428c33b2d3a.jpg",[],{"id":12052,"slug":12053,"title":4278,"dynasty":18,"author":239,"museum":459,"description":12054,"tags":12055,"thumbUrl":12056,"material":179,"size":179,"collection":179,"collections":12057,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},228914,"dai-du-tu-guo-xi-228914","此作用平远之景铺展江天，烟波浩渺的水面空阔清远，左岸远山浅渚隐在淡墨晕染的霭气中，愈见悠远。右岸林木苍郁虬劲，亭台桥榭依岩而建，亭中文人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[23,152,24,25,26,30,118,28,63,64,115,116,7,117,61,500,661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],{"id":12059,"slug":12060,"title":12061,"dynasty":18,"author":944,"museum":266,"description":12062,"tags":12063,"thumbUrl":12064,"material":179,"size":179,"collection":179,"collections":12065,"showCount":127,"zanCount":928,"manualWeight":48,"mainColor":49},228734,"wang-chuan-bie-shu-tu-juan-zhao-bo-ju-228734","辋川别墅图卷","以石青石绿敷染峰峦，古雅绢底晕开明丽苍润的山水气象。峰峦连绵开合，汀渚回环萦带，山居殿宇错落林泉，平湖轻舟泛波，林木蓊郁点染山野。笔法精细秀雅，青绿设色妍丽沉稳，承唐人青绿的华贵明艳，又融宋人的雅致意境，将林泉高致铺叙成一卷悠远山居长卷，把山水、村居、舟游融为和谐整体，尽显文人寄情丘山的雅逸意趣，是青绿山水里工致兼具写意的佳构。",[23,24,25,26,27,28,30,62,7,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ab89b8018cc96566364f4966f4c51.jpg",[],{"id":12067,"slug":12068,"title":12069,"dynasty":54,"author":7255,"museum":459,"description":12070,"tags":12071,"thumbUrl":12072,"material":179,"size":179,"collection":179,"collections":12073,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},228365,"xiang-shan-jiu-lao-tu-zhou-chen-228365","香山九老图","《香山九老图》是明代画家 创作的一幅绢本设色画，该画现藏于 。\n名称：香山九老图轴 作者：周臣 年代：明代 周臣，明代中期的著名职业画家。\n他生活在成化至嘉靖年间，生卒年不详。\n字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖14年（即155年）。\n擅长画人物和山水，画法严整工细。\n他有两个学生特别著名，一个唐寅，另一个仇英，唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。\n曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。\n画山石坚凝，章法严谨，用笔纯熟。\n曾与戴进并驱，则互有所长。\n人物画也非常出色，古貌奇姿，绵密萧散，各极意态。\n南京博物院收藏的周臣代表作《柴门送别图》，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。\n周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》、《春泉山隐图》等，济南博物馆收有《访友图》，及台湾、国外大博物馆内也收藏一些作品。\n周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,24,25,28,29,118,61,30,540,7,244,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaa0c43decd43702693cac01a030852.jpg",[],{"id":12075,"slug":12076,"title":12077,"dynasty":223,"author":2792,"museum":459,"description":12078,"tags":12079,"thumbUrl":12083,"material":179,"size":179,"collection":179,"collections":12084,"showCount":127,"zanCount":928,"manualWeight":48,"mainColor":49},224468,"xi-kou-bai-yun-tu-wang-hui-224468","溪口白云图","《庐山白云图》是清代 创作的纸本设色画。\n此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。\n卷末自识：“关仝庐山白云图为海内名迹，林壑位置迥出意匠之外。\n余二十年前偶于金陵友人斋中展阅数过，卷尾有董文敏题识，至今追忆恍在目前边。\n古香主人以藏纸属画，聊仿其意，万不及一，当不值方家一哂也。\n董跋并录于右。\n康熙丁丑暮春望后三日，虞山王翚。\n”钤“王翚印”、“石谷”印。\n引首章“上下千年 ”印。\n“丁丑”是清康熙三十六年（1697年）。\n在自识之前，有作者所临董其昌的跋：“顷游庐山，自天池策杖大林寺至崖头，下视山腰，俱为云雾所断，四空濛濛作白豪光，身如在银海中，无复林麓村墟可得。\n以为画家未曾收此奇境，及披此图，宛然庐山所见也。\n独是日见庐山上方诸峰，亦缥缈灭没为飞烟断霭耳。\n丙申闰八月晦日舟次繁昌大江中书玄宰。\n” “丙申”是明万历二十六年（1596年）。\n卷首钤压角印“耕烟野老”。\n收藏印有“傲徕山房”、“仲麟鉴赏”等方。\n尾纸有清姜宸英跋。\n据王翚自题，因年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。\n王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。\n王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。\n前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。\n”这幅作品恰恰印证了王时敏对王翚的评价。\n“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。\n画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。\n全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。\n王翚（162-1717）清代画家。\n字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。\n江苏常熟人。\n出身绘画世家，幼承家学，初学画于张珂，后又得到王鉴、王时敏指点。\n擅山水，初摹黄公望，后广泛师法唐宋元明诸家，转益多师，加以发展变化，形成个人风貌。\n曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。\n其画笔墨功底深厚，长于摹古，几可乱真，但又能不为成法所囿，部分作品富有写生意趣，构图多变，勾勒皴擦渲染得法，格调明快。\n在四王中比较突出。\n其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。\n有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[23,12080,28,118,114,29,12081,243,206,4114,676,7,117,35,37,12082,69,204],"清代山水画","传统山水技法","松树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88c671433772a4b87aa285537a3616b.jpg",[],{"id":12086,"slug":12087,"title":12088,"dynasty":223,"author":1850,"museum":167,"description":12089,"tags":12090,"thumbUrl":12100,"material":40,"size":12101,"collection":179,"collections":12102,"showCount":127,"zanCount":467,"manualWeight":48,"mainColor":128},223096,"zi-guang-ge-ci-yan-tu-juan-yao-wen-han-223096","紫光阁赐宴图卷","乾隆二十五年（1761年），紫光阁修缮完成，乾隆下旨将平定准部、回部的100名功臣画像张悬于四壁。次年正月，乾隆皇帝又在此设庆功宴，王公贵族、文武大臣、蒙古族首领以及西征将士百余人出席。此幅描绘了当时宴庆的宏大场面。图中建筑借助西洋绘画手法而沿用中国画传统的手卷形式来表现。位于中南海内的紫光阁始建于明代，到清代成为皇帝阅射和殿试武举之所，乾隆时重修，至今依然保持着当年盛世的形貌，图画中之建筑与紫光阁实景两相对照，饶有情趣。",[23,29,28,59,61,62,156,7,1420,412,1421,70,12091,1145,760,12092,6784,592,12093,12094,12095,12096,12097,12098,12099,8276,624],"宫殿式建筑","冬季树木","红色服饰","蓝色服饰","黄色帐篷","落叶树","常绿树","旗帜飘扬","飞鸟群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb785c231aa7f19856cb11465734c15e7.jpg","纵45.7厘米，横486.5厘米",[],{"id":12104,"slug":12105,"title":12106,"dynasty":223,"author":858,"museum":514,"description":859,"tags":12107,"thumbUrl":12108,"material":140,"size":869,"collection":179,"collections":12109,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":128},223071,"hong-lou-meng-57-sun-wen-223071","红楼梦57",[23,24,29,28,26,61,90,69,7,70,736,10933,5788,8259,676,276,540,12031,12030,625,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7449b7a68c5da3b640620fef4f209e9.jpg",[],{"id":12111,"slug":12112,"title":12113,"dynasty":223,"author":12114,"museum":10533,"description":12115,"tags":12116,"thumbUrl":12117,"material":360,"size":12118,"collection":331,"collections":12119,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":128},222823,"shan-yin-cao-tang-tu-xu-gu-222823","山阴草堂图","虚谷","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。",[23,152,24,25,26,114,118,119,120,30,7,117,2112,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d1a7fdce3cd4a97891e59a5fb55386.jpg","283.6x29",[331,103],{"id":12121,"slug":12122,"title":12123,"dynasty":54,"author":5967,"museum":149,"description":12124,"tags":12125,"thumbUrl":12126,"material":114,"size":12127,"collection":179,"collections":12128,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":128},222077,"hu-qiu-tu-juan-xie-shi-chen-222077","虎丘图卷","此幅《虎丘图卷》，笔法苍古，墨色稳健，气格清隽高雅，接近沈石田粗豪蕴藉一路的山水风格。",[23,24,25,26,114,28,30,118,120,153,119,62,63,64,115,116,7,117,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995bbad5d6523cb39112fba363c9046b.jpg","19.0 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创作的一幅绢本设色画。\n本幅自题：“延陵村在茅山之东，有张从申碑。\n从申，唐大历时司直。\n赵子固称其书品在李北海之右。\n玄靖天师碑与延陵季子此碑皆在华阳，笔法类徐浩三藏法师碑。\n延陵碑萧定作也。\n略曰‘听乐辩刊国之兴亡，审贤知世数之存没，挂剑示不言之信，避国保无欲之贞，玄风可想，至德如存云’。\n旁有四贤，以祀董永、韦昭、王素与季子而四。\n癸亥二月，画于丹阳舟中，因命之延陵村图并书此。\n董玄宰。\n“癸亥”为明天启三年（162年），董其昌时年69岁。\n清青浮山人编《董华亭书画录一卷》著录。",[23,24,25,202,114,28,118,120,153,30,117,7,35,500,674,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","纵78.5厘米，横30.2厘米",[124,103],{"id":12175,"slug":12176,"title":12177,"dynasty":54,"author":110,"museum":1202,"description":5869,"tags":12178,"thumbUrl":12179,"material":360,"size":5873,"collection":179,"collections":12180,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":128},220020,"dong-zhuang-tu-ce-zhi-sang-zhou-shen-zhou-220020","东庄图册之桑州",[23,24,25,385,114,28,30,7,117,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd451e05aae9ee860e65702e5c77a968d.jpg",[],{"id":12182,"slug":12183,"title":12184,"dynasty":54,"author":110,"museum":1202,"description":5869,"tags":12185,"thumbUrl":12186,"material":122,"size":5873,"collection":179,"collections":12187,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":128},220017,"dong-zhuang-tu-ce-zhi-zhu-ying-jing-shen-zhou-220017","东庄图册之朱樱径",[23,152,24,114,28,385,118,30,7,502,61,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15839f4d94e03e2266c9b42a00660105.jpg",[],{"id":12189,"slug":12190,"title":12191,"dynasty":54,"author":110,"museum":1202,"description":5869,"tags":12192,"thumbUrl":12193,"material":122,"size":5873,"collection":179,"collections":12194,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":128},220011,"dong-zhuang-tu-ce-zhi-dong-cheng-shen-zhou-220011","东庄图册之东城",[23,152,24,25,385,114,118,30,62,63,7,93,788,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e337d9ab671c3c1794f7a4f8e3e804.jpg",[],{"id":12196,"slug":12197,"title":12198,"dynasty":223,"author":1755,"museum":551,"description":12199,"tags":12200,"thumbUrl":12202,"material":303,"size":12203,"collection":124,"collections":12204,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":128},220006,"shi-liang-yu-lai-ting-tu-dai-xi-220006","石梁雨来亭图","南宋贾似道在石梁创昙花亭。清道光戊戌，即1838年，亭被毁。适舍人潘功甫（名曾沂）过石梁，议集资兴修。寺僧请求改昙华亭为雨来亭，因天台山田多旱，改名以志喜。潘功甫为此作诗一首，诗云：“平章事业江河大，有漏涓涓自不知。七十二蓬参遍了，昙华亭上雨来时。”\n图绘天台山石梁飞瀑，天生桥东西方向，连接着对峙的两座山崖，溪水三折，冲出桥洞，形成了如虹一般的飞瀑，起舞婆娑，坠入脚下的惠泽潭。雨来亭坐落在飞瀑之畔，方广寺如在天外，唯见其塔。全图有一种上下贯通的浩然之气与空灵之韵。",[23,24,25,26,114,118,12201,153,30,116,63,64,156,7,117,204],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aaf57368d5249cfd0b4a4f0247cc250.jpg","纵35cm，横316cm",[124],{"id":12206,"slug":12207,"title":12208,"dynasty":133,"author":434,"museum":167,"description":12209,"tags":12210,"thumbUrl":12211,"material":78,"size":12212,"collection":124,"collections":12213,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},218164,"lin-ting-qiu-se-tu-yi-ming-218164","林亭秋色图","沿江罔陵起伏，霜气已深，岁将暮矣。满山寒林卓力，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收纲，朝起江村，各有所事。本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空濶，气象萧疏，使人凛然而有寒意。无款印。",[23,24,201,26,118,28,30,578,579,116,500,64,2869,1300,115,7,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e709e86501c656c68df5e59cba6c64f.jpg","纵27.3,横50.4公分",[124],{"id":12215,"slug":12216,"title":1700,"dynasty":133,"author":434,"museum":167,"description":12217,"tags":12218,"thumbUrl":12219,"material":78,"size":12220,"collection":124,"collections":12221,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":128},218118,"shan-ju-tu-yi-ming-218118","山居图是指以山水为主题的图画。在中国画中，山水画是一种著名的画类型，表现的是山水景色以及人与自然的关系。山居图的画法细腻，注重细节，能够生动地表现出山水的美景。\n\n山居图的风格独特，画面精细，笔墨浓转淡，构图巧妙，能够生动地再现出山林间的幽静之美。这些画作通常描绘的是山林间的景色，或者是隐居僻静的山林小屋。其中，常常融入了自然和人文的元素，如树木、山峰、溪流、房屋、建筑等。",[23,24,152,25,30,114,28,118,341,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf4b59ffae7cdffb934293652f9b0153.jpg","34.8x58.9cm",[124],{"id":12223,"slug":12224,"title":12225,"dynasty":54,"author":55,"museum":459,"description":12226,"tags":12227,"thumbUrl":12228,"material":78,"size":179,"collection":179,"collections":12229,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},216288,"er-shi-si-xiao-tu-4-chou-ying-216288","二十四孝图-4","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[24,25,385,29,28,61,7,4481,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd965609e0169db712087b31cdd38528d.jpg",[],{"id":12231,"slug":12232,"title":12233,"dynasty":223,"author":12234,"museum":167,"description":12235,"tags":12236,"thumbUrl":12237,"material":122,"size":12238,"collection":124,"collections":12239,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":128},214720,"chun-jiang-xing-zhou-yong-rong-214720","春江行舟","永瑢","《春江行舟图》是一幅画作，出自清代画家永瑢的手笔。这幅画描绘了一个人坐在小舟里悠然自得地漫游在春天的江水中。画中的人物身着传统的汉服，头戴轻便的草帽，手拿长矛，似乎是在寻找渔获。周围的景色十分优美，江水波光粼粼，岸边的树木和花草都迎来了春天的到来，鸟儿翩翩起舞，整个画面充满了春天的气息。\n\n永瑢（1678-1735）是清代著名的画家，他的画风清新自然，擅长写意画，作品风格独特，深受人们的喜爱。他的作品《春江行舟图》被誉为其代表作之一，在当时颇受推崇，至今仍为艺术爱好者所珍视。",[24,25,385,28,30,63,64,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u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[124,45],{"id":12303,"slug":12304,"title":12305,"dynasty":54,"author":7255,"museum":1443,"description":12306,"tags":12307,"thumbUrl":12309,"material":11807,"size":12310,"collection":124,"collections":12311,"showCount":12251,"zanCount":48,"manualWeight":48,"mainColor":49},222376,"bai-tan-tu-zhou-chen-222376","白谭图","绘四周环山水潭边，一道者盘坐席上，手执拂尘掸，静心修行，一边的童子正给炉子扇风烧火，近处树木遒劲苍翠。技法上，绘山石坚凝，线条坚挺，棱角锋利，用笔纯熟，取法于李唐派系。",[23,152,24,30,61,28,118,117,12308,7,923,1238],"潭水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1c655c7e01bcf836590ca261bff341.jpg","38x73cm",[124,103],{"id":12313,"slug":12314,"title":11497,"dynasty":18,"author":7149,"museum":167,"description":12315,"tags":12316,"thumbUrl":12317,"material":316,"size":12318,"collection":42,"collections":12319,"showCount":12251,"zanCount":48,"manualWeight":48,"mainColor":49},221613,"guan-pu-tu-zhou-liang-kai-221613","图绘飞瀑从山涧中直泻而下，与山脚乱石激起层层浪花，瀑前枯树对立，竹石苔茵，瀑下平坦处一人捻髭立眺，三童子洗砚抱琴烹茶。",[23,152,24,25,202,114,118,61,578,579,204,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9939980581eebaa2e7edecbbd4fd44.jpg","135.9x64.1厘米",[42,124,45],{"id":12321,"slug":12322,"title":12323,"dynasty":18,"author":1792,"museum":111,"description":12324,"tags":12325,"thumbUrl":12327,"material":28,"size":12328,"collection":179,"collections":12329,"showCount":12251,"zanCount":48,"manualWeight":48,"mainColor":49},221376,"yan-jiang-die-zhang-tu-wang-shen-221376","烟江叠嶂图","《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。\n此图凄迷的诗意化山水景致，充满着丧失爱情、希望与友谊的悲痛之情，表达了他于惨遭放逐期间内心荒寂的梦幻世界。\n此图平远布局，起首浅岸一隅，江面辽阔，波心渔舟泛泛如鸥。中幅峰峦迭起，前后拱揖，呈奇耸秀。山间烟云缭绕，百道飞泉，萦林络石，下赴谷口。楼阁隐现于白云青峰之间。后段烟水迷蒙。全图表现出“江上愁心干叠山，浮空积翠如云烟”、“春风摇江天漠漠，暮云卷雨山娟娟”的清空深秀意境。用笔结合唐人勾斫法和李成的颖利笔法，凝练清劲。树木参用勾叶、点叶多种方法，层次参差，显得葱倩郁密。山峦敷染青绿重色，花青染叶，深墨渍涧，色泽鲜丽厚实，将唐人的古朴和宋人的精密融成一体，开创出青绿山水的新格调。\n在构图上，远近疏离，似有一透视感，远山隐映于云雾之中，悠远秀丽。\n作者用笔凝炼，骨法端重而不板刻，山石用墨笔勾皴，不方不圆，似行似隶，因而画中的气韵十分生动；此图用青绿着色，重彩复皴，再用花青运墨点苔，益见山色之奇丽多姿。画树多夹叶或点笔，著色有石青，石绿、浅绿及赭红等。苍翠之中愈见青葱鲜丽，无煊耀之燥气，又有静穆的庄严。以深墨渍出山涧，留白以状飞瀑，形成了黑白相映的反差。青山间有白云缭绕，用工笔浅描，线划空明，使重叠的山峦在炯云中时显时隐。石皴不方不圆之间，山石形态各异。界画工整的楼阁、屋宇，隐显于青山白云之间，极富雅趣。作者以诸种手法以表现，使北宋山水画达到了神妙的境界",[23,152,24,25,26,30,114,28,118,12326,1362,31,7,37],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df1d52102b8e94aadf1789685e44f7d.jpg","纵45.2厘米，横166厘米",[],{"id":12331,"slug":12332,"title":10353,"dynasty":54,"author":955,"museum":551,"description":10354,"tags":12333,"thumbUrl":12334,"material":506,"size":10357,"collection":124,"collections":12335,"showCount":12251,"zanCount":48,"manualWeight":48,"mainColor":128},220905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905",[23,24,25,26,114,60,118,119,153,30,31,7,64,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg",[124,45],{"id":12337,"slug":12338,"title":12339,"dynasty":223,"author":4731,"museum":2805,"description":12340,"tags":12341,"thumbUrl":12342,"material":78,"size":12343,"collection":124,"collections":12344,"showCount":12251,"zanCount":928,"manualWeight":48,"mainColor":49},219907,"xue-shan-tu-yuan-jiang-219907","雪山图","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。\n袁江，是中国绘画史上有影响画家，宫廷画家，专攻山水楼阁界画。雍正时，召入宫廷为祗侯。在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。当时还有他的侄子袁耀同齐名。他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。他擅画山水、楼台、师法宋人。山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。他的绘画素材多为古代宫苑，尤长于界画。界画是我国民族绘画中很有特色的一门画科，它在东晋时代已同人物、山水画并存了，发展到宋、元时期就已达到高峰，但一直受到文人画的排挤。画艺从师仇英，山探郭忠恕笔法及赵伯驹、刘松年等青绿山水一脉，同时传工界画，成为有清一代推为第一的界画家。",[24,475,28,118,1080,7,35,1044,61,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4541743a212af25140e45045a3164c74.jpg","78.3x46.7",[124],{"id":12346,"slug":12347,"title":12348,"dynasty":223,"author":12349,"museum":111,"description":12350,"tags":12351,"thumbUrl":12352,"material":303,"size":12353,"collection":44,"collections":12354,"showCount":12251,"zanCount":48,"manualWeight":48,"mainColor":128},219419,"jin-gu-yuan-tu-zhou-hua-nie-219419","金谷园图轴","华喦","华喦（yán）的笔墨既有继承传统的一面，又重视写生，构图大胆新颖。他所刻画的艺术形象鲜活生动，用笔干湿浓淡灵活多变，表现力强。是图，华岩重构了西晋石崇所建别墅金谷园，潇洒淋漓的笔墨与烂漫的花草使奢华的园林带有了些许文人气韵。",[24,202,28,29,61,30,7,117,170,4473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900b496b8d7d1df5eea57bd7f71090a2.jpg","纵178.7 厘米 横94.4 厘米",[44],{"id":12356,"slug":12357,"title":12358,"dynasty":18,"author":434,"museum":167,"description":12359,"tags":12360,"thumbUrl":12362,"material":78,"size":12363,"collection":42,"collections":12364,"showCount":12251,"zanCount":48,"manualWeight":48,"mainColor":128},219233,"qiu-tang-fu-yan-tu-yi-ming-219233","秋塘凫雁图","松枝如墨笔皴染，苍劲枝干斜倚塘边，松针细密如丝，织着秋的清寒。几只凫雁散落在岸石上：有的敛翅蜷身，似枕着午后秋光小憩；有的侧颈理羽，绒羽软意与石面凉硬相映成趣。塘水静如镜，淡褐水面漾着若有若无的烟霭，把远天晕成朦胧色块，连风都放缓了脚步。\n\n笔墨简淡却藏极致细腻：每根松针带秋的劲挺，每片羽翎裹塘边静气，连岸石纹理都浸着湿润凉意。这方圆景里，秋意非萧瑟，而是生灵与自然的温柔相拥——宋人把对天地万物的深情，凝在一笔一划、一禽一木的静谧中，让千年后的我们，仍能触到那份清旷与安然。",[23,152,24,28,29,2895,12361,7,2246,342,328,2869],"凫雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512ca8a7e13d31ef689e673f06c54768.jpg","24.8x25.2cm",[42,331],{"id":12366,"slug":12367,"title":12368,"dynasty":18,"author":12369,"museum":167,"description":12370,"tags":12371,"thumbUrl":12372,"material":303,"size":12373,"collection":124,"collections":12374,"showCount":12251,"zanCount":11,"manualWeight":48,"mainColor":128},218644,"yan-yu-tu-huang-qi-218644","烟雨图","黄齐","这幅画是一个小溪和山的场景，安静而遥远，全部来自写生。黄齐不知道是哪一代人或哪一个地方的人，但这幅画中的笔法几乎是元代的山水风格。",[23,24,25,114,118,30,7,37,117,64,6897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeda478f2951b201e64af557bf02a0f7.jpg","28.9x52cm",[124],{"id":12376,"slug":12377,"title":12378,"dynasty":133,"author":10373,"museum":423,"description":12379,"tags":12380,"thumbUrl":12381,"material":303,"size":12382,"collection":124,"collections":12383,"showCount":12251,"zanCount":928,"manualWeight":48,"mainColor":128},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[23,152,24,25,26,114,30,118,153,120,243,37,7,676,206,500,2808,501,38,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[124],{"id":12385,"slug":12386,"title":12387,"dynasty":223,"author":12388,"museum":423,"description":12389,"tags":12390,"thumbUrl":12391,"material":122,"size":12392,"collection":124,"collections":12393,"showCount":12251,"zanCount":48,"manualWeight":48,"mainColor":128},218094,"han-shan-xiao-zhong-tu-zhang-zong-chang-218094","寒山晓钟图","张宗昌","张宗昌是中国清朝时期的著名画家，他的作品《寒山晓钟图》是他最著名的代表作之一。\n\n《寒山晓钟图》描绘了寒山寺的晓钟，这座寺庙位于江苏省的寒山山脉上。图中的晓钟散发出的光芒照耀在周围的山峦和林木之间，使得整幅画面显得格外美丽。张宗昌在画中运用了精细的线条和富有层次感的透视技巧，使得图中的山水景观栩栩如生，充满了生机和活力。\n\n《寒山晓钟图》被广泛认为是张宗昌最杰出的作品之一，它展示了他对中国传统山水画的精湛技艺和深刻理解。张宗昌是清朝时期最著名的山水画家之一，他的作品对中国绘画艺术产生了深远的影响。",[23,24,25,202,114,118,30,341,116,63,64,115,7,35,37,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4221b65c1a4cb46cc255586c5d3a1e.jpg","144x61.6cm",[124],{"id":12395,"slug":12396,"title":12397,"dynasty":54,"author":434,"museum":2956,"description":12398,"tags":12399,"thumbUrl":12400,"material":78,"size":12401,"collection":124,"collections":12402,"showCount":12251,"zanCount":48,"manualWeight":48,"mainColor":128},217883,"fang-li-di-shan-shui-tu-yi-ming-217883","仿李迪山水图","李迪是明朝时期著名的画家，他的作品以精细的写实和优美的构图著称。作者的仿李迪山水图也是以精细的写实和优美的构图为特点，但是与李迪不同的是，作者在作品中运用了更加丰富的色彩，使得作品更加生动。\n\n作者的仿李迪山水图展现了中国传统山水画的高超技巧，他的作品中经常出现山峦、溪流、森林、村庄等元素。他擅长运用描绘山水的技法，使作品看起来栩栩如生。此外，作者还注重作品的构图，他善于运用构图中的线条、弧线、曲线等元素，使作品看起来更加流畅。\n\n如果你是艺术爱好者，不妨去看看佚名的仿李迪山水图，感受一下中国传统山水画的魅力。",[24,25,30,60,118,28,117,7,116,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d43d203f636dbbfcb84fda42745f1c.jpg","36.8x33cm",[124],{"id":12404,"slug":12405,"title":12406,"dynasty":133,"author":355,"museum":459,"description":1960,"tags":12407,"thumbUrl":12409,"material":808,"size":809,"collection":179,"collections":12410,"showCount":12411,"zanCount":48,"manualWeight":48,"mainColor":128},290837,"ceng-luan-song-cui-zhou-wang-meng-290837","层峦耸翠轴",[24,114,202,30,118,3433,117,7,64,115,12408,153,11151],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedd8bd1842dbdc4031e3d3b7ea5de38.jpg",[],43,{"id":12413,"slug":12414,"title":12415,"dynasty":223,"author":1431,"museum":459,"description":12416,"tags":12417,"thumbUrl":12418,"material":808,"size":809,"collection":179,"collections":12419,"showCount":12411,"zanCount":48,"manualWeight":48,"mainColor":128},290427,"shan-shui-tu-ce-10-kai-gong-xian-290427","山水图册10开","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。",[24,25,385,114,30,117,7,119,120,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7eb7410c32536a5d14c4134270b47ae.jpg",[],{"id":12421,"slug":12422,"title":588,"dynasty":18,"author":944,"museum":459,"description":12423,"tags":12424,"thumbUrl":12425,"material":808,"size":809,"collection":179,"collections":12426,"showCount":12411,"zanCount":48,"manualWeight":48,"mainColor":49},290088,"han-gong-chun-xiao-tu-zhao-bo-ju-290088","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在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矣。吴伟业题。”\n此图是王时敏为友人陈静孚之母七十寿辰而作。画面上峰峦叠嶂，林木葱郁，流泉曲绕，长松挺立。山谷中点缀着茅亭草舍，环境清幽。在构图和笔墨方面都具备典型的中国画特征。首先，构图方面采用全景式构图，以散点透视的方法描绘景物，近景双松清晰挺拔，远景高山连绵巍峨，所画内容具有美好的象征意义，十分契合祝寿的主题。其次，在笔墨表现方面，继承董巨（董源、巨然）、元人的笔墨传统，尤其是黄公望的画法，以仿古见长，具有程式化的特点。笔法精绝老到，为王氏晚年佳作。",[24,25,202,30,62,7,31,206,35,114,118,117,500,674,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1c5058cf54925d7fcced41900d4ce1.jpg","纵133厘米，横63.3厘米",[],{"id":12489,"slug":12490,"title":12491,"dynasty":18,"author":575,"museum":167,"description":12492,"tags":12493,"thumbUrl":12494,"material":140,"size":12495,"collection":179,"collections":12496,"showCount":12411,"zanCount":48,"manualWeight":48,"mainColor":128},231341,"hua-deng-shi-yan-tu-er-ma-yuan-231341","华灯侍宴图（二）","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n马远是南宋宫廷画家，杨皇后是其主要的艺术赞助人。杨皇后多次为马远之作题诗题句，其创作也势必迎合杨皇后的要求，“臣马远”的款识当为此意。从《华灯侍宴图》的笔法与风格来看，当为马远晚年之作，而杨皇后的题记，也属晚年风格。换而言之，画作的年代应在宋宁宗时代。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引。\n此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。\n该画山而不作全景式图，取一角或一峰给予突出的描写。这是马远在继承前人山水画传统的基础上的突破，是他对山水画形式美感探索的成就。",[24,25,475,29,118,28,62,7,31,244,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9b868683d8127a8dd2bb9ff753b532.jpg","纵125.6厘米，横46.7厘米",[],{"id":12498,"slug":12499,"title":12500,"dynasty":54,"author":10638,"museum":459,"description":12501,"tags":12502,"thumbUrl":12503,"material":808,"size":809,"collection":179,"collections":12504,"showCount":12411,"zanCount":48,"manualWeight":48,"mainColor":128},228497,"shi-hu-yuan-xiao-tu-li-shi-da-228497","石湖元宵图","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[23,152,24,114,28,29,59,61,62,63,116,579,64,70,7,69,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d224efb8b4d7931ad464765d30dc4d.jpg",[],{"id":12506,"slug":12507,"title":12508,"dynasty":54,"author":4269,"museum":459,"description":12509,"tags":12510,"thumbUrl":12513,"material":179,"size":179,"collection":179,"collections":12514,"showCount":12411,"zanCount":11,"manualWeight":48,"mainColor":49},228325,"xiang-shan-jiu-lao-tu-juan-chang-juan-xie-huan-228325","香山九老图卷（长卷）","【文物现状】现藏美国克利夫兰美术馆 绢本，设色，长卷，纵：29.8厘米，横：148.2厘米。\n现藏美国克利夫兰美术馆，是明代画家 的人物画中代表性作品之一。\n“ ”指的是唐代文人胡杲、吉玫、刘贞、郑据、卢贞、张浑、白居易及李元爽、禅僧如满九位老者。\n他们因志趣相投，结为九老会。\n此图绘唐武宗会昌五年（公元845年）三月二十四日，九老在白居易之居处欢聚，既醉且欢之际赋诗画画的情景 。\n根据 香山九老会诗序》的内容可知，对九老雅集的描绘早已有之，到了南宋时期，此题材在画院中也非常兴盛；而明代的宫廷画家在承袭南宋画院风格时，对此种具有历史典故的题材又较好的继承下来。\n对于这幅表现文人聚会的长卷，在构图上作者选择了从围墙上方往墙内俯视的角度来描。\n画中一条蜿蜒的碎石小径贯穿整个画面，形成一条横轴线，人物及景物均围绕着石径展，画面从左边开始：一身着便服的文人携一童仆正缓缓地向画面中心的厅堂走来，他似乎并不急于赴会，而是悠闲地欣赏着园内的景致。\n沿着他走的路径向右看，在石径一侧，有两人站在梅树前，一人一边指着着梅树一边好像对旁边的人说着什么，看那人恭敬的样子，也许正在聆听长者论道吧。\n再往后，便是画的中心，这是画面内容的主体：只见一宽大的厅堂里，几案分明，案上盆景、花瓶摆放有序；厅中有一桌，三个文人正围着桌子看一位长者写着什么，或是画着什么。\n四个人物的神态各不相同，均刻画精微：长者面露喜悦，挥毫泼墨；三位围观者，有的若有所思，有的凝神静观。\n堂前石径上，有一仆人正端着盘子向右行，把观者的视线引向画面的结尾部分，有两位文人正在苍松翠柏下吟诗赏画，旁边的几位童仆，有的在煮茶温酒，备办佳肴；有的在侍侯笔墨，抱琴侍立。\n整个场面以石径为主线，中间穿插以厅堂楼榭，假山叠石，古松，梅树，瑞鹤等景物，把画面的几个部分联成一个有机的整体。\n整体上看，瑞松摇曳，梅花绽放，祥鹤唳鸣，环境清幽淡远，实为人间的“桃源仙境”。\n在刻画人物形象方面，作者着重于对人物表情的描绘。\n人物布局上聚散都非常富于变化。\n笔法工整严谨，衣纹线条准确，挺拔而秀逸，极富质感，色彩鲜艳、古拙。\n在景物刻画上也非常严谨，小径上的碎石，亭台、屋宇等一笔一笔地描绘出，松柏，梅树，竹叶也细细地勾勒，显示出画家精谨细密的功夫，具有李唐、刘松年的遗风，属于院体一派。\n谢环，字庭循，明永嘉（今浙江温州）人，善画山水、人物，远承荆浩、关仝，以及南宋李唐、刘松年，近师元人。\n成祖永乐(14-1424）中征入画院。\n谢环还擅长文学，画史上说他“知学问，喜赋诗”，有《梦吟堂集》世，时人称他“清瑾有文”。\n传世作品有《 》等。",[23,24,26,28,29,61,116,7,2997,12511,70,1525,12512],"石径","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3901b4a9861a664f281876e2c023104.jpg",[],{"id":12516,"slug":12517,"title":12518,"dynasty":133,"author":10393,"museum":459,"description":12519,"tags":12520,"thumbUrl":12521,"material":179,"size":179,"collection":179,"collections":12522,"showCount":12411,"zanCount":11,"manualWeight":48,"mainColor":128},228179,"xiu-ye-xuan-tu-juan-zhu-de-run-228179","秀野轩图卷","淡墨轻岚晕染平远丘壑，山峦温润迤逦，洲渚间林木蓊郁，秀野轩临水静立，溪岸萦回、浅汀横斜，尽显江南山居的清寂野趣，将湖山灵秀与林下幽居的隐逸意趣相融。\n\n引首榜书沉雄苍劲，后接数十段题跋，行楷秀逸舒展，笔致清和雅致。诗书画印一体，以画绘景，以诗述怀，书法映托山水雅韵，尽显元代文人寄情林泉、雅集酬唱的林下襟怀，淡墨间晕开幽远诗意，是元人山水画中诗画合璧的经典之作。",[23,24,152,26,114,118,30,7,35,5880,500,2808,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a06906c63a6a83703b85153edd1ffe.jpg",[],{"id":12524,"slug":12525,"title":12526,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":12527,"thumbUrl":12530,"material":808,"size":809,"collection":3244,"collections":12531,"showCount":12411,"zanCount":48,"manualWeight":48,"mainColor":128},225911,"cart-on-the-snow-covered-road-with-saint-simeon-farm-1865-mo-nai-225911","Cart on the Snow Covered Road with Saint-Simeon Farm, 1865",[7526,3239,818,74,8068,5232,7,7778,7131,12528,61,12529,5404],"车辙","积雪屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24915be9be79482c21b3c4d54acb5f56.jpg",[3244],{"id":12533,"slug":12534,"title":12535,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":12536,"thumbUrl":12541,"material":808,"size":809,"collection":3244,"collections":12542,"showCount":12411,"zanCount":48,"manualWeight":48,"mainColor":49},225776,"les-vessenots-in-auvers-1890-fan-gao-225776","Les Vessenots in Auvers 1890",[3239,3240,12537,8067,12538,12539,3148,10512,35,2796,7,500,5404,206,411,3344,5232,8253,12540],"笔触粗犷","设色明快","厚涂法","云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59d96b48c7f50705bc820c7d8d46b723.jpg",[3244],{"id":12544,"slug":12545,"title":12546,"dynasty":54,"author":2835,"museum":167,"description":12547,"tags":12548,"thumbUrl":12549,"material":7925,"size":179,"collection":124,"collections":12550,"showCount":12411,"zanCount":48,"manualWeight":48,"mainColor":49},222526,"mo-bi-shan-shui-zhou-wang-fu-222526","墨笔山水轴","明代画家王绂（1362-1416）为无锡人，号九龙山人、鳌叟。其画以墨竹最为知名，山水则承续元代文人画风，为吴派前驱。王绂密布层迭岩垒及林木，近景临岸渔船，一艘似正炊煮，一艘则在用餐，船上张挂着披晒的衣物；中景船只则正收拾风帆；右方山路行旅也疾疾赶路入城，一派日暮归人景致。\n乾隆皇帝于旅程中欣赏此图时，并非草草展阅山水大势，而是连小小的舟中生活都注意到了，并成为他吟咏的重心，由此可感受到他品画时的细腻与留心。",[24,201,202,118,30,7,540,117,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f6a38fa5ce0f20cabdeca5c267ff32.jpg",[124,103],{"id":12552,"slug":12553,"title":9893,"dynasty":54,"author":801,"museum":20,"description":12554,"tags":12555,"thumbUrl":12556,"material":2012,"size":9897,"collection":124,"collections":12557,"showCount":12411,"zanCount":928,"manualWeight":48,"mainColor":128},222339,"you-ren-yan-zuo-tu-zhou-tang-yin-222339","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。\n本幅右上有清代书法家王澍于雍正丁未年（雍正五年，1727年）十二月的题识，叙述了自己收藏此图并馈赠给惠山听松庵僧的经过。裱边及包首外签有当代书画家和鉴定家吴湖帆在庚寅年（1950年）为仲麟题签并记，文中除了记载王澍所云之事外，对惠山听松庵收藏的其他古代名画如王绂《竹炉图》的流传作了介绍，并对时事离乱之际文物的劫难发出了感喟。",[23,24,25,202,114,118,30,116,7,117,64,61,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d12d445bfae2e8d760c703ae5c64b78.jpg",[124,103],{"id":12559,"slug":12560,"title":12561,"dynasty":54,"author":55,"museum":658,"description":12562,"tags":12563,"thumbUrl":12564,"material":40,"size":12565,"collection":179,"collections":12566,"showCount":12411,"zanCount":11,"manualWeight":48,"mainColor":128},222216,"chi-bi-tu-juan-quan-juan-chou-ying-222216","赤壁图卷全卷","传世仇英所作《赤壁图》，我们所见有三幅：一藏辽宁省博物馆，一藏上海博物馆，再者便是《石渠宝笈初编》著录的这一卷了。前二幅皆绢本短卷，画的都是白露横江、断岸千尺，东坡与客泛舟中流这一情景。本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓等山间夜景。读者可以借画家营造的美景，去想象苏轼舍舟登岸，“摄衣而上，履腵岩，披蒙茸，攀栖鹘之危巢，俯冯夷之幽宫”这一夜游情境。其构思立意较前二图更为丰富美备\n三幅《赤壁图》画家都未记年。上海博物馆一图，用笔峻健方硬，应是他得到周臣指授，力学李唐等南宋院画的盛年时作品。辽宁省博物馆一图，与仇英在项元汴家《临宋人六景》画风相近，应是他较晚之作。《石渠宝笈初编》著录的这幅《赤壁图》卷，画法细缜，淡冶蕴藉，与几幅可以断为仇氏早年真迹的作品风格相似，创作年代比上海博物馆《赤壁图》要略为早些。\n关于仇英早年画风，学者们都认定他受到文徵明的影响。援引的史料一是彭年所说“十洲少即见赏于衡翁”；一是文徵明《湘君图》上王登转述文氏自己的话，说他“曾使仇实父设色，两易纸皆不满意”，不得不自己重作之。上述二处记载，一般可以看作是文氏对青年仇英的赏识器重。不过，如对题跋做进一步思索，则可以发现文、仇二人非同寻常的关系。中国绘画史上多有老师画成墨稿后请学生敷彩的情况，如吴道子的画作每使弟子翟琰、张藏布色，文徵明是一个谦和温厚之人，他这么做并如此直言不讳，至少可见他们师徒般真率坦诚的情谊。\n此幅《赤壁图》 画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[23,24,25,26,28,29,27,120,153,30,61,115,4848,7,117,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],{"id":12568,"slug":12569,"title":12570,"dynasty":18,"author":198,"museum":167,"description":1927,"tags":12571,"thumbUrl":12572,"material":140,"size":12573,"collection":179,"collections":12574,"showCount":12411,"zanCount":48,"manualWeight":48,"mainColor":49},221387,"bao-shan-shi-jing-ce-fan-kuan-221387","包山十景册",[23,152,24,25,385,28,30,117,7,676,61,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547a3b1370dc9ee21fc24baeb7fb8ad8.jpg","30.2x31.8",[],{"id":12576,"slug":12577,"title":12578,"dynasty":18,"author":3371,"museum":167,"description":12579,"tags":12580,"thumbUrl":12582,"material":555,"size":179,"collection":44,"collections":12583,"showCount":12411,"zanCount":48,"manualWeight":48,"mainColor":985},220209,"shi-jia-chu-shan-tu-ma-lin-220209","释迦出山图","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。",[23,24,25,202,28,29,118,923,61,30,204,289,7,12581],"圆光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa49bf9e4867c98d5d04acfefbcda89.jpg",[44],{"id":12585,"slug":12586,"title":12587,"dynasty":223,"author":11317,"museum":12588,"description":12589,"tags":12590,"thumbUrl":12591,"material":303,"size":12592,"collection":124,"collections":12593,"showCount":12411,"zanCount":928,"manualWeight":48,"mainColor":128},220098,"zong-qing-qiu-he-tu-xiao-yun-cong-220098","纵情丘壑图","洛杉矶博物馆","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[23,24,25,26,114,118,30,117,7,35,66,500,2808,540,11825,37,1364,69,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[124],{"id":12595,"slug":12596,"title":12597,"dynasty":54,"author":12598,"museum":382,"description":12599,"tags":12600,"thumbUrl":12601,"material":122,"size":12602,"collection":124,"collections":12603,"showCount":12411,"zanCount":928,"manualWeight":48,"mainColor":128},219750,"liu-ruan-tian-tai-tu-ding-yun-peng-219750","刘阮天台图","丁云鹏","石缘林漱玉凉，远上紫逻更苍苍。溪边列树云和静，洞口落寞水亦香。作记未应拟彭泽，成诗早见有曹唐。浙东仙境依然在，可复双鬟待二郎。乾隆戊寅春御题",[23,24,152,202,29,28,153,30,61,7,117,37,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151f3ed0233acb65b06439368bfeb4ac.jpg","纵136.7横33.5厘米",[124],{"id":12605,"slug":12606,"title":599,"dynasty":133,"author":10373,"museum":266,"description":12607,"tags":12608,"thumbUrl":12609,"material":303,"size":12610,"collection":124,"collections":12611,"showCount":12411,"zanCount":48,"manualWeight":48,"mainColor":49},219729,"shan-shui-tu-fang-cong-yi-219729","右侧危崖壁立，飞泉隐于崖间垂落，左侧峰峦逶迤向远，留白晕染出浩渺烟波，虚实之间拉开山水纵深。以干笔皴擦勾勒山石肌理，苍劲老辣，林木仅以简笔点染，便生幽荒野趣。山脚村居错落藏于林泉，淡墨晕开水色，将山野幽寂缓缓铺陈。\n\n题跋朱印错落排布，诗书画印浑然一体，将元人隐逸的林下意趣藏于笔墨。整幅简淡萧疏，以笔意写尽胸中丘壑，把林泉高致的雅逸缓缓吐露，尽显超脱世外的静穆淡远。",[23,24,25,202,114,118,30,341,1473,7,206,35,500,37,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c821d8821366e88035d7a9739c0afbb.jpg","73x59.6",[124],{"id":12613,"slug":12614,"title":12615,"dynasty":54,"author":3786,"museum":167,"description":12616,"tags":12617,"thumbUrl":12618,"material":28,"size":12619,"collection":44,"collections":12620,"showCount":12411,"zanCount":48,"manualWeight":48,"mainColor":128},219460,"dan-lin-cui-zhang-tu-lu-zhi-219460","丹林翠嶂图","本幅以狭长画面安排景物布局，桃树繁密，变化丰富。以尖细折线勾勒山石轮廓，用笔方劲，青绿敷染细致。惜因构图过于充塞，虽工细精道，略少自然之态。",[24,25,202,28,118,30,7,968,117,35,61,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc15e51996325c5786e52bffb0c5e172.jpg","90.2x30.7",[44],{"id":12622,"slug":12623,"title":12624,"dynasty":54,"author":6772,"museum":382,"description":12625,"tags":12626,"thumbUrl":12627,"material":122,"size":12628,"collection":124,"collections":12629,"showCount":12411,"zanCount":48,"manualWeight":48,"mainColor":128},217878,"zhou-li-yuan-shang-kuan-shen-ce-hu-yu-kun-217878","周栎园上款什册","层岩叠嶂以劲挺线条勾勒，皴擦间显山石嶙峋之态；山间林木疏朗，掩映幽径，远处峰岫隐现，留白处生悠远之境。左侧题跋笔意洒脱，文句含蕴哲思，诗画交融间，墨色与心境共生。山石的刚健与林木的清逸相映，题跋的禅意与山水的空灵相契，尽显传统文人画诗书画印一体的雅韵，传递出静观自然、叩问本心的清雅情怀。笔锋流转处，既有山水的雄浑气象，又藏文人的细腻思致，于尺幅间铺展一幅融视觉与心境于一体的雅致画卷。",[152,24,25,114,118,120,119,30,31,244,7,69,2406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e4408ed38bf72fc6032dc84cddd4e5.jpg","24.7x32.3cm",[124],{"id":12631,"slug":12632,"title":12633,"dynasty":18,"author":3595,"museum":459,"description":12634,"tags":12635,"thumbUrl":12638,"material":808,"size":809,"collection":179,"collections":12639,"showCount":12640,"zanCount":928,"manualWeight":48,"mainColor":128},288550,"cheng-huang-ju-lv-tu-zhao-ling-rang-288550","橙黄橘绿图","入秋的江南，暑气消尽，寒冬未至，正是一年当中最清爽宜人的时节。潺潺溪流，轻巧弯延地划过雾色苍茫的平野；两岸橘树遍植成林，一粒粒芬芳的黄果、绿实，像是地上的点点繁星。空气里弥漫着微润的甘甜，吸引三三两两的水鸟，自在地悠游在汀渚之间。幽静、迷蒙的景境，正是苏东坡笔底下“一年好景君须记，正是橙黄橘绿时”的诗情。虽然在这幅《橙黄橘绿》图里，画家直接用色点叶、画橘，笔线不够精准，可能不是赵令穰的作品，但是画中隐约的柔美，令人悠然神往。",[152,24,25,2895,28,30,7,64,156,119,120,153,2869,12636,12637],"橘树","橙树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d81ea92de40e98db5552b4feec83c05.jpg",[],42,{"id":12642,"slug":12643,"title":12644,"dynasty":223,"author":472,"museum":167,"description":12645,"tags":12646,"thumbUrl":12647,"material":122,"size":12648,"collection":179,"collections":12649,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":128},288285,"fang-wang-wei-jiang-shan-xue-ji-tu-wang-shi-min-288285","仿王维江山雪霁图","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[152,24,475,202,28,118,60,747,117,7,62,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a350d41c4997b3ce106edd3a6b3b931.jpg","133.7x60",[],{"id":12651,"slug":12652,"title":12653,"dynasty":133,"author":355,"museum":167,"description":1960,"tags":12654,"thumbUrl":12655,"material":303,"size":12656,"collection":179,"collections":12657,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":128},287544,"hua-xi-yu-yin-wang-meng-287544","花溪渔隐",[152,24,25,202,114,30,64,115,3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，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,475,202,114,118,60,341,244,540,7,204,206,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7312c6d75e4c03872d13ce1a4136a20.jpg",[],{"id":12710,"slug":12711,"title":12712,"dynasty":223,"author":7748,"museum":20,"description":12713,"tags":12714,"thumbUrl":12715,"material":40,"size":12716,"collection":124,"collections":12717,"showCount":12640,"zanCount":928,"manualWeight":48,"mainColor":128},234289,"shan-shui-lou-ge-ce-chen-mei-234289","山水楼阁册","陈枚在绘画上受到郎世宁的影响，运用了一些西洋的透视画法，表现出物象的立体感。他曾“以海西法于寸纸尺缣图群山万壑，峰峦林木，屋宇桥梁。”此册以中西合璧的绘画技法展现出圆明园中西融会的建筑与宫殿园林的完美结合，使人对这座“万园之园”产生无尽的遐想。咸丰十年（1860年），英法联军焚毁圆明园，因而该册的艺术价值弥足珍贵。",[24,152,385,59,28,30,62,120,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d31cd400a8dc8e30ee5eedf5bda6150.jpg","纵31厘米，横25.3厘米",[124,45],{"id":12719,"slug":12720,"title":1690,"dynasty":54,"author":110,"museum":20,"description":1691,"tags":12721,"thumbUrl":12722,"material":360,"size":1694,"collection":179,"collections":12723,"showCount":12640,"zanCount":928,"manualWeight":48,"mainColor":128},234084,"wu-zhong-shan-shui-ce-shen-zhou-234084",[24,25,385,114,118,120,153,30,62,116,540,117,7,500,3755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feca6fe60aab5ac5d2bd9165817433d9c.jpg",[],{"id":12725,"slug":12726,"title":12727,"dynasty":223,"author":12728,"museum":20,"description":12729,"tags":12730,"thumbUrl":12731,"material":230,"size":12732,"collection":179,"collections":12733,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":128},233969,"zui-zhong-kui-tu-zhou-luo-pin-233969","醉钟馗图轴","罗聘","罗聘的《醉钟馗图》，以漫画的手法，描绘出一幅迷离朴塑、奇异怪谲的鬼怪世界，借以讽刺社会现实。有人将此图比作蒲松龄的《聊斋志异》，称它们都是用“以鬼喻人”的手法来讽诲世事。\n以上解说词是北京故宫博物院对《醉钟馗图》的介绍，这段解说词其实适用于上面的两幅画。罗聘作画题材广泛，人物肖像、鬼神佛道、山水花卉兼擅，作画大胆而细心，金农赞其“笔端聪明，无毫末之桀”。颇具画家柔中带钢、洁身自好之风。罗聘的人物画流传量甚少，其特点是人物身体结构清晰，衣纹线条垂长方折多变，人物意态栩栩如生，整个画面体现一种疏淡雅洁的格调。\n罗聘（1733－1799），字遯夫，号两峰，又号花之寺僧、金牛山人、蓼舟渔父、竹叟、衣云和尚、两峰子、喜道人、师莲老人。江苏扬州人，一作安徽歙县人。清代著名画家，扬州八怪之一。金农入室弟子。未作官，好游历。在扬州自称住处谓“朱草诗林”。工诗，善画，笔情古逸，思致渊雅，深得金农神味，墨梅、兰、竹，均极超妙，古趣盎然。道释、人物、山水、花卉，无不臻妙，别具一格。又善画鬼趣图，描写形形色色的丑恶鬼态，无不极尽其妙，借以讽刺当时社会的丑态。亦善刻印，着有《广印人传》。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。妻方婉仪，子允绍、允缵，皆能画梅，被誉为“罗家梅派”。有《香叶草堂诗草》等行世。罗聘是“扬州八怪”最年轻的一位。少年苦读诗书，勤於习画，好学无倦，才艺出众，又拜金农为师，临摹宋人、元四家、石涛等先贤作品，不拘泥成法，自创风格而成为扬州八怪之一。罗聘工诗善画，笔情古逸，思致渊雅，深得金农神味，墨梅、兰、竹，均极超妙，古趣盎然。道释、人物、山水、花卉，无不臻妙，貌鬼独绝。",[24,202,28,61,923,117,1665,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed30d125486b48ea1ded0b4bee3fd526.jpg","57×39 公分",[],{"id":12735,"slug":12736,"title":12737,"dynasty":18,"author":671,"museum":459,"description":12738,"tags":12739,"thumbUrl":12740,"material":179,"size":179,"collection":179,"collections":12741,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":49},230968,"yun-shan-die-cui-tu-zhou-mi-fei-230968","云山叠翠图轴","此作用水墨晕染摹写江南烟峦，以米点皴晕出山麓林泽的苍润郁茂。层叠峰岫在流荡的云雾中半隐半现，虚实交错间晕开空濛幽远的氤氲之气，将江南烟雨的朦胧柔婉尽显。\n下方平林村居，屋舍错落清溪蜿蜒，林木苍黑如黛，山野的静谧闲适扑面而来。全画脱却工细刻画，笔墨简淡随性，以氤氲水墨营造出如梦似幻的烟岚世界，将自然山水的灵秀与文人写意的雅趣相融，传递出悠然淡远的山居意趣，尽显水墨山水空濛雅致的独特风韵。",[23,152,24,25,202,114,118,30,881,341,116,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a45a3b012870db385d33969b86cdc64.jpg",[],{"id":12743,"slug":12744,"title":12745,"dynasty":223,"author":472,"museum":459,"description":12746,"tags":12747,"thumbUrl":12748,"material":179,"size":179,"collection":179,"collections":12749,"showCount":12640,"zanCount":928,"manualWeight":48,"mainColor":128},230180,"du-fu-shi-yi-tu-ce-wang-shi-min-230180","杜甫诗意图册","《清王时敏仿杜甫诗意图册》是清代王时敏创作的中国画。\n此图共十二页，每幅隶书杜诗二句， 后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[23,24,152,30,28,118,385,341,342,204,206,7,117,37,1289,61,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],{"id":12751,"slug":12752,"title":12753,"dynasty":54,"author":4827,"museum":459,"description":12754,"tags":12755,"thumbUrl":12756,"material":179,"size":179,"collection":179,"collections":12757,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":49},228375,"lin-wang-meng-tai-bai-shan-tu-du-qiong-228375","临王蒙太白山图","此作用笔苍劲秀密，以披麻皴绘就层峦叠嶂，苔点疏密错落，尽显山岩浑厚华滋，林麓幽深静谧。湖面空阔清寂，村舍星点隐于林木沟壑间，野趣悠然自生，将江南山居的幽恬之景铺展尽致。\n卷尾长题书法俊逸朴拙，诗画相融，复刻原作幽淡萧散的山水意韵，又自蕴沉静内敛的文人意趣。观之如随幽人策杖穿行泉石间，煮茶观云，坐看烟岚漫过山腰，隐见林泉雅事，把林下高致的隐逸之思晕染在笔墨山河中。",[23,24,25,26,114,28,118,60,30,31,7,35,32,115,156,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357f6e010915680f847be1afbc23395f.jpg",[],{"id":12759,"slug":12760,"title":12761,"dynasty":18,"author":12762,"museum":459,"description":12763,"tags":12764,"thumbUrl":12765,"material":179,"size":179,"collection":179,"collections":12766,"showCount":12640,"zanCount":928,"manualWeight":48,"mainColor":49},227493,"shu-shan-xing-lv-tu-zhou-xu-dao-ning-227493","蜀山行旅图轴","许道宁","这幅画是唐代画家李兆道的《明朝蜀帝》的复制品，描绘了唐玄宗从长安逃到四川的后妃和宗族王子。唐玄沿着蜿蜒的前山路拥抱着后丛，披着皮毛，在云雾中显得威严。",[23,152,24,25,202,28,30,61,90,94,1420,7,244,426,62,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181e35023b5b0f076d46ac0a2261779f.jpg",[],{"id":12768,"slug":12769,"title":12770,"dynasty":620,"author":771,"museum":459,"description":12771,"tags":12772,"thumbUrl":12773,"material":179,"size":179,"collection":179,"collections":12774,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":985},227264,"xi-an-tu-bo-wu-guan-ben-dong-yuan-227264","溪岸图(博物馆本)","《溪岸图》是五代画家董源创作的一幅绢本设色画，现收藏于美国大都会博物馆。\n\n《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[152,24,25,202,118,114,28,30,117,7,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79f4bd7c9a668001f1943f2c22bc8be1.jpg",[],{"id":12776,"slug":12777,"title":12778,"dynasty":223,"author":858,"museum":514,"description":859,"tags":12779,"thumbUrl":12780,"material":140,"size":869,"collection":179,"collections":12781,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":128},223078,"hong-lou-meng-64-sun-wen-223078","红楼梦64",[23,565,29,28,61,62,70,7,117,1665,2856,275,1621,9360,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f6af9ab7a5efed7373e5af0719d36f.jpg",[],{"id":12783,"slug":12784,"title":1178,"dynasty":133,"author":5646,"museum":167,"description":12785,"tags":12786,"thumbUrl":12787,"material":114,"size":12788,"collection":124,"collections":12789,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":128},221789,"shan-shui-zhou-cao-zhi-bai-221789","曹知白（1272～1355），元代画家，字又玄，号云西，人称贞素先生。华亭（今上海市松江县）人 。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 苍秀简逸。",[23,24,25,202,114,118,30,994,1665,117,7,500,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf838ea1e6905938ba9311926e6629d5.jpg","该幅 80x27.8公分、全幅 52.2公分",[124,103],{"id":12791,"slug":12792,"title":12793,"dynasty":1743,"author":5400,"museum":5177,"description":12794,"tags":12795,"thumbUrl":12796,"material":179,"size":179,"collection":179,"collections":12797,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":128},220568,"li-jiang-chun-yu-xu-bei-hong-220568","漓江春雨","以淋漓水墨晕染出漓江烟雨空濛之态，层叠峰林隐现于烟岚之中，墨色浓淡铺就山势虚实，尽显丘林隽秀朦胧。水面如镜，将山色树影晕化在柔波里，氤氲出水墨交融的湿润意趣。\n\n扁舟渔翁持篙独行，点活了整幅静美画卷，林麓间错落村舍，晕染出乡野恬淡烟火。画作揉合中西技法，既有传统文人山水留白写意的诗意，又暗含西画光影层次，将春雨漓江的温润柔婉，野渡闲静雅趣尽数铺展，满是东方山水的悠远意境。",[24,114,228,30,243,115,462,7,1290,9085,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228f0942de448fbbc8e726550e5df463.jpg",[],{"id":12799,"slug":12800,"title":12801,"dynasty":1743,"author":5400,"museum":5177,"description":12802,"tags":12803,"thumbUrl":12804,"material":179,"size":179,"collection":179,"collections":12805,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":128},220567,"e-nao-xu-bei-hong-220567","鹅闹","这幅写意小品以淋漓笔墨勾勒群鹅嬉闹之景，淡墨晕染白羽，蓬松柔软，红喙红掌施以浓艳朱色，醒目跳脱，与素洁绒羽形成强烈视觉对比。群鹅姿态各异，前者引吭展翅，步履昂然，后者振翅疾追，将乡野间喧闹鲜活的瞬间定格。背景墨叶以大写意晕染，朦胧错落衬出沙地的柔和明净，笔意纵放间不失精微，把鹅的憨直率性尽数铺展，鲜活灵动的生机跃然纸面，将乡野闲趣揉进笔墨之中，形神兼备，尽显写意花鸟的动人意趣。",[23,24,114,28,228,10073,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd47f325de146d3f35c08e8b1cbe754.jpg",[],{"id":12807,"slug":12808,"title":12809,"dynasty":1743,"author":5400,"museum":5177,"description":12810,"tags":12811,"thumbUrl":12813,"material":5412,"size":179,"collection":179,"collections":12814,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":128},220566,"xi-wo-hou-xu-bei-hong-220566","徯我后","焦土龟裂，流民褴褛。老者抬手极目远眺，干裂的唇畔似在发出喟叹，将渴盼化进焦灼的目光里；妇孺瘫倒在地，孱弱的身躯再也扛不住流离的苦楚。身旁水牛攒动，更衬出这方天地里的惶惶不安。\n\n沉郁的色调裹着悲怆，粗粝的笔触刻尽苦难。它借古抒怀，把乱世中人对救赎的祈盼，凝在每一道佝偻的背影里，每一双望穿秋水的眼眸中，是旧时代底层苍生呼号与热望的鲜活注脚。",[23,1743,3239,4311,28,61,91,5405,7,12812,7979],"荒郊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a716ceb0b89b148d93f747fef75255.jpg",[],{"id":12816,"slug":12817,"title":12818,"dynasty":54,"author":12819,"museum":20,"description":12820,"tags":12821,"thumbUrl":12822,"material":78,"size":12823,"collection":124,"collections":12824,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":49},220373,"jiang-ge-yuan-tiao-tu-wang-e-220373","江阁远眺图","王谔","此图为设色人物山水，大江水云渺茫，靠岸边殿阁一座，阁上一人面向江左眺望，面前方几上设花瓶、香炉、果盘，二童子侍立，屋内一童点烛，一童托盒走来。阁前水边，大石，芦苇，小船一艇，一人伏卧船中，石上苍松古柏，石后山崖杂树，烟雾迷濛。大江对岸，山峦，屋宇，庙塔，一座城门女墙环山，绕成圆形，岸边停泊大小船二十余只，远山隐现在云海间。\n描绘楼阁吸取了南宋院体状物精微的写实风格而更加纤巧富丽，树石山崖取马远大斧劈皴法，水纹以墨线勾描，画法工细。",[23,152,24,25,475,28,118,1362,62,500,540,66,1290,117,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd4c9f65db6578d2b8f3b0006690a99f.jpg","纵143.2厘米，横229厘米",[124],{"id":12826,"slug":12827,"title":12828,"dynasty":18,"author":434,"museum":167,"description":12829,"tags":12830,"thumbUrl":12831,"material":78,"size":12832,"collection":124,"collections":12833,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":49},219927,"xi-shan-rui-xue-tu-zhou-yi-ming-219927","溪山瑞雪图轴","此作用全景式构图铺陈雪后山川，远景层岩覆雪，隐在烟霭之中，如琼楼玉宇浸在寒雾里，萧寒静谧。中景平林远渚，寒水如镜，板桥孤悬，策蹇旅人踏雪独行，为清寂天地添上一缕幽渺生趣。近景苍松挺拔，枝梢凝霜，山石以留白晕染摹写积雪厚重，墨色干湿浓淡铺陈开雪后清润空蒙的空气感。\n\n全图以水墨晕染替代重彩勾勒，以淡墨烘出空濛雪意，不着艳色，仅以墨色层次区分山林丘壑，将冬日山野的荒寒幽寂尽数铺陈，把雪后山乡的静谧澹泊揉进笔墨之间，尽显含蓄悠远的山水意趣。",[23,24,25,152,202,114,118,30,747,540,63,1855,117,7,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc39c4cc1ff9e95f273a558411882121.jpg","131.5x56.9",[124],{"id":12835,"slug":12836,"title":12837,"dynasty":133,"author":4160,"museum":382,"description":12838,"tags":12839,"thumbUrl":12840,"material":78,"size":12841,"collection":124,"collections":12842,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":49},219783,"shan-zhong-guan-shu-tu-yi-sheng-mao-219783","山中观书图(一)","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[23,24,201,28,29,118,30,61,540,1665,528,117,64,7,4075],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bca7bc079a6d5dcc5b4be19f4c16a7a.jpg","纵97.3横29.2",[124],{"id":12844,"slug":12845,"title":12846,"dynasty":133,"author":9322,"museum":382,"description":12847,"tags":12848,"thumbUrl":12849,"material":78,"size":12850,"collection":44,"collections":12851,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":49},219567,"xian-ren-tu-yan-hui-219567","仙人图","苍古松壑间，三位仙者围坐清谈。左侧童子恭谨侍立，执器物垂首静听；居中仙者虬眉圆睁，神态矍铄灵动；右侧长髯仙人安坐抚膝，意态萧散出尘。\n\n画家以粗简苍劲的笔触勾勒山石古松，暗沉色调晕染出幽寂山野氛围，人物衣纹顿挫凝练，兼具写意笔趣与写实精微，将仙人各异的神采刻画入微，整体冷逸清旷，尽显出世高玄的仙道意境。",[23,24,25,202,114,28,61,30,923,29,118,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1392a21c9e50699689313e4c79cf7f.jpg","纵144.8横82.2厘米",[44],{"id":12853,"slug":12854,"title":12855,"dynasty":54,"author":12856,"museum":382,"description":12857,"tags":12858,"thumbUrl":12859,"material":78,"size":179,"collection":44,"collections":12860,"showCount":12640,"zanCount":928,"manualWeight":48,"mainColor":49},219520,"pin-pang-tu-ni-duan-219520","聘庞图","倪端","此作以层叠山水铺就幽寂天地，远山含烟，峦峰隐现于苍莽雾气之中，将山野空阔清远之境晕染开来。近景虬木盘绕，怪石嶙峋，衬出山居的清僻冷寂。林间小径之上，聘者躬身示礼，姿态恭谨，高士神态澹然自若，将出世隐逸与入世招贤的意涵悄然对照。\n\n笔墨苍劲古雅，斧劈皴利落刻画山石肌理，枯木枝桠以折芦描写就，尽显萧寒苍劲。沉雅的设色晕开幽古氛围，以山川林泉烘托出林下高风，将先贤不慕荣利的襟怀藏于烟霞丘壑之间，院体画的精工与文人意趣相融，悠悠古意漫溢满幅。",[23,24,25,202,28,30,61,7,244,204,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50f6ffda585eb0f4926c5cca0a3fb74.jpg",[44,124],{"id":12862,"slug":12863,"title":12864,"dynasty":18,"author":298,"museum":459,"description":12865,"tags":12866,"thumbUrl":12867,"material":555,"size":179,"collection":44,"collections":12868,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":49},218092,"bai-miao-luo-han-tu-quan-juan-li-gong-lin-218092","白描罗汉图全卷","宋朝是中国历史上的一个朝代，它的统治时间是从960年到1279年。在这个时期，许多著名的文化遗产和艺术品被创造出来，其中之一就是李公麟的《白描罗汉图全卷》。\n\n李公麟是宋朝时期的一位著名的画家，他的《白描罗汉图全卷》是他的代表作之一。这幅画共有六十张图片，描绘了罗汉（菩萨）的各种形象。罗汉是佛教中的一种神祇，被视为慈悲、智慧、勇敢的象征。\n\n《白描罗汉图全卷》画风精细，造型优美，富有表现力。李公麟在画中运用了白色的纸张，使得整幅画显得格外纯净、灵动。此外，他还运用了许多细节处理手法，如镂空、描边和拓印等，使得画面更加丰富、生动。\n\n总的来说，李公麟的《白描罗汉图全卷》是一幅精美的艺术杰作，具有极高的艺术价值和文化意义。",[23,152,24,25,26,437,923,61,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259cf0e940680700b94e0d92e8fa0ef6.jpg",[44],{"id":12870,"slug":12871,"title":12872,"dynasty":54,"author":955,"museum":111,"description":1470,"tags":12873,"thumbUrl":12874,"material":122,"size":179,"collection":179,"collections":12875,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":128},214648,"qiu-xing-ba-jing-tu-ce-9-dong-qi-chang-214648","秋兴八景图册-9",[24,25,385,114,27,28,30,116,7,117,120,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be813ba30d1c9d872056dd97f176faa.jpg",[],{"id":12877,"slug":12878,"title":6479,"dynasty":223,"author":472,"museum":111,"description":12879,"tags":12880,"thumbUrl":12881,"material":179,"size":179,"collection":124,"collections":12882,"showCount":12640,"zanCount":48,"manualWeight":48,"mainColor":12883},202026,"shan-shui-tu-zhou-wang-shi-min-202026","此作笔墨苍润古雅，山石以细密皴法勾勒肌理，尽显苍劲质感。云雾轻笼山谷，虚实相生间拓展空间纵深，将远近峰峦自然衔接。山间林木葱茏，松枝虬劲，杂树错落，屋舍隐于林麓，小桥跨溪，流水潺潺，一派静谧悠远的山居气象。笔墨追摹元人遗韵，线条沉稳，墨色层次丰富，设色淡雅，尽显文人画清逸格调，传递出超然尘俗的林下之趣。",[30,118,114,28,63,64,1705,7,243,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bec74577ee026a9bdc4fd614df8982.jpg",[124],"a69c8b",{"id":12885,"slug":12886,"title":12887,"dynasty":133,"author":338,"museum":459,"description":12888,"tags":12889,"thumbUrl":12890,"material":808,"size":809,"collection":179,"collections":12891,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":128},290732,"xi-ting-zuo-yin-zhou-shang-qi-290732","溪亭坐隐轴","商琦：元代画家，字德符，号寿岩，曹州（今山东菏泽市）人。泰定元年官至秘书卿。有精深的文学艺术修养，又以善画受到皇帝赏识，因此他在当时的地位很显赫，几与高克恭齐名。商琦善画山水，《图绘宝鉴》称他师法李成，得用墨法，亦善画墨竹。又有记载说他的山水学董源，善于运用水墨。仁宗曾命他在壁上作山水，不用金朱粉彩，只用水墨，可见他的水墨山水、竹石画在当时堪称一绝。商琦亦是一位壁画能手，曾奉命画嘉禧殿壁，当时许多宫殿、寺院壁画都出自他的手笔。",[152,24,25,202,114,30,61,116,64,62,117,7,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2590d0819492c87451b3e47069e30e7d.jpg",[],41,{"id":12894,"slug":12895,"title":12896,"dynasty":223,"author":8347,"museum":20,"description":12897,"tags":12898,"thumbUrl":12899,"material":2012,"size":12900,"collection":124,"collections":12901,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":128},236111,"pan-shan-bie-shu-zhou-zhang-zong-cang-236111","盘山别墅轴","位于盘山的静寄山庄，是乾隆朝“法皇祖避暑山庄之例”而修建的。乾隆皇帝学仿康熙皇帝，仿照避暑山庄，在现在的天津蓟县盘山南麓营建了属于自己的皇家园林，位于京城以东80余公里之外，是乾隆帝朝谒东陵的必经之地。静寄山庄也叫盘山行宫，于乾隆九年（1744）开始兴建，至乾隆十九年（1754）竣工，是清代鼎盛期著名的皇家园林之一，也是在京城以外仅次于避暑山庄的第二大皇家行宫园林。乾隆朝多位宫廷画家、词臣画家甚至乾隆皇帝本人，都描绘过这里。",[152,24,25,202,114,118,30,64,117,7,69,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cfa4cf9fbe519c088dfe3a6254fc08.jpg","162×93.5厘米",[124,103],{"id":12903,"slug":12904,"title":12905,"dynasty":54,"author":110,"museum":459,"description":12906,"tags":12907,"thumbUrl":12908,"material":179,"size":179,"collection":179,"collections":12909,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":49},235999,"chun-yun-die-zhang-tu-zhou-shen-zhou-235999","春云叠嶂图轴","此作以淡墨晕染远山，春云裹挟峰峦，虚实相融间晕开空濛的春日山色。山巅以浓墨点苔植林，清浅墨色衬出苍润的生机。中景林麓烟霭轻笼，村舍隐于幽林之中，漫着山居的静寂安闲。近岸水滨杂树错落，枝桠舒展间漾着春的暖意，临水策驴徐行的旅人，为山野添了鲜活意趣。\n\n整作笔墨苍秀兼具，以留白衬出云气流动，简淡的水墨里藏着古雅浑厚，将江南春山温润清远的意境铺展尽致，尽显文人山水独有的林下天真。",[24,25,202,114,118,30,881,31,7,64,116,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ff3ecd13cea2367a22a0689c7f958e.jpg",[],{"id":12911,"slug":12912,"title":1690,"dynasty":54,"author":110,"museum":20,"description":1691,"tags":12913,"thumbUrl":12914,"material":360,"size":1694,"collection":179,"collections":12915,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":128},234091,"wu-zhong-shan-shui-ce-shen-zhou-234091",[24,25,385,114,118,120,153,30,7,115,64,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768131a771cc65321f3cd34baec811ed.jpg",[],{"id":12917,"slug":12918,"title":1690,"dynasty":54,"author":110,"museum":20,"description":1691,"tags":12919,"thumbUrl":12920,"material":360,"size":1694,"collection":179,"collections":12921,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":128},234087,"wu-zhong-shan-shui-ce-shen-zhou-234087",[24,25,385,114,118,120,153,30,63,64,7,35,115,289],"h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Olive Trees 1889",[3239,3240,12539,12966,12967,12968,12969,12970,2795,5404,9952,5405,7,12971],"动态笔触","色彩对比","表现主义","油彩","橄榄树","纹理笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b33b3dee8102444ea19c423b8d07e7.jpg",[3244],{"id":12975,"slug":12976,"title":12977,"dynasty":223,"author":3282,"museum":459,"description":12978,"tags":12979,"thumbUrl":12980,"material":179,"size":179,"collection":179,"collections":12981,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":128},224586,"du-mu-shi-yi-tu-zou-yi-gui-224586","杜牧诗意图","此作取诗意入画，绘就晚秋幽林。危崖峻拔，以苍劲皴笔写尽山石嶙峋骨相，淡墨晕染出岫间云霭，衬出山居空寂高远之境。坡岸秋木杂生，丹红枝叶点缀其中，暗合霜叶胜花的诗意。溪湾浅滩处，渔人泛槎而归，为清冷秋景添上几分烟火野趣。\n\n全作用笔干湿互济，干笔皴擦刻绘山石肌理，淡墨晕染烘托空濛氛围，将诗句里停车赏枫的悠然心境化入尺幅之中，诗画相映，尽显秋日山林的萧疏雅致，闲淡高古的意韵扑面而来。",[23,24,25,202,28,29,118,30,117,7,968,500,1474,502,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33b4eca18f66a0d481bcc101936a3f5.jpg",[],{"id":12983,"slug":12984,"title":12985,"dynasty":223,"author":1533,"museum":10533,"description":12986,"tags":12987,"thumbUrl":12988,"material":140,"size":12989,"collection":124,"collections":12990,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":49},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","此是王鉴摹吴镇的一幅名画，相同的画董其昌在其《小中见大》册中也临摹有一幅，构图相同，说明两人都是忠实于原作的临摹。此幅水墨淋漓，与吴镇用笔用墨十分相似，可见王圆照摹古功力之深。",[23,24,25,202,28,118,30,2795,7,62,63,64,116,117,2869,206,1705,2421,246,213,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[124,103],{"id":12992,"slug":12993,"title":12994,"dynasty":223,"author":2792,"museum":459,"description":12995,"tags":12996,"thumbUrl":12997,"material":179,"size":179,"collection":179,"collections":12998,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":49},224441,"fang-ju-ran-shan-shui-tu-wang-hui-224441","仿巨然山水图","此作取法董巨一脉，以披麻皴晕染山峦，圆浑苍润的山体层层铺展，云雾在谷壑间悄然漫溢，晕开空濛幽深的山水意境。\n\n谷间林木蓊郁苍茂，古木虬曲蟠扎，山居楼宇掩映在深林翠色中，溪涧蜿蜒穿流，板桥横陈浅滩，野趣悠然自生。墨色层次丰富，淡墨烘染云气，浓墨点苔写树，既绘就山峦厚重雄浑的体量，又晕出江南山水的温润氤氲，将北宋山水的沉郁与元人笔墨的秀逸相融，尽展林泉高致的文人心境。",[23,24,25,202,60,118,30,117,7,62,63,64,37,761],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c07a9b57cf6ed3bdd9355306fb68fe.jpg",[],{"id":13000,"slug":13001,"title":13002,"dynasty":223,"author":434,"museum":459,"description":13003,"tags":13004,"thumbUrl":13006,"material":179,"size":179,"collection":179,"collections":13007,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":128},223658,"jin-ping-mei-cha-tu-yi-ming-223658","金瓶梅插图","此作为工笔重彩长卷，以分段式构图铺展桥段，院宅厅堂错落排布，人物疏密有致。匠者细绘雕栏花窗、瓶炉陈设，精准还原世家起居样貌，衣袂纹饰鲜妍工丽，各有章法。画面将宴饮雅聚、弈棋闲叙、私会密谈的不同氛围烘托得当，人物神态灵动鲜活，或揖礼叙话，或缱绻依偎，皆细腻传神。青绿、朱红配色明快雅致，兼具界画的工整写实与人物画的气韵生动，把世情日常与深宅韵致相融，尽显清代工笔世俗画的精湛功力，让文字故事具象为可触摸的古典图景。",[23,24,26,28,29,59,61,62,70,7,2193,13005,174,173,6763,117,170,175],"家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a55519b64b307f10e86240af72bfc4.jpg",[],{"id":13009,"slug":13010,"title":13011,"dynasty":54,"author":8650,"museum":368,"description":13012,"tags":13013,"thumbUrl":13016,"material":506,"size":13017,"collection":124,"collections":13018,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":49},222583,"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,28,118,30,7,117,116,35,64,69,206,761,246,11825,2421,1704,502,245,13014,13015,6805],"淡赭","山石皴染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[124,103],{"id":13020,"slug":13021,"title":13022,"dynasty":54,"author":13023,"museum":658,"description":13024,"tags":13025,"thumbUrl":13026,"material":360,"size":13027,"collection":124,"collections":13028,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":128},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[23,24,25,26,114,30,118,7,117,64,37,153,2406,2869,4638,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[124,103],{"id":13030,"slug":13031,"title":13032,"dynasty":54,"author":12598,"museum":167,"description":13033,"tags":13034,"thumbUrl":13035,"material":230,"size":13036,"collection":124,"collections":13037,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":49},222381,"lu-shan-gao-zhou-ding-yun-peng-222381","庐山高轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,25,202,114,28,30,204,64,7,117,37,118,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c977c8e01db35618436bdcc1f93e189.jpg","280x85.5",[124,45],{"id":13039,"slug":13040,"title":13041,"dynasty":54,"author":110,"museum":1202,"description":13042,"tags":13043,"thumbUrl":13044,"material":2012,"size":13045,"collection":179,"collections":13046,"showCount":12892,"zanCount":11,"manualWeight":48,"mainColor":128},222125,"luo-hua-shi-yi-tu-quan-juan-shen-zhou-222125","落花诗意图全卷","该图写晚春最象，远山隐约，桃李花谢，落英缤纷，溪岸上有一老者倚杖临流感慨。笔墨简洁厚润，从宋元人水墨写意中发展而来，别具一格。明代兴起的以个性解放为中心的思想解放运动，在哲学上的表现是争取人的解放，在文艺上的表现则是争取文艺解放，而哲学启蒙则为文艺启蒙提供了思想理论武器。而《落花诗意图》正是作者抒发春暮感伤的个人感情，在一定意义上反映了当时艺术的民主色彩。\n该图描绘了老者一身影孑然独立于自然中的情景。画幅右半部为全幅最主要的部分，也是实景部分。该处主要部位作树五株，分为两组，以胡椒点笔法点出树叶，疏密聚散，然后以花青、赭石笼染数遍。右边下部则以平台和山坡为主，先勾出大体轮廓，然后在坡石的结合处以披麻皴皴出层次，稍作渲染，再以花青、赭石笼染。两平台分开，同时在两平台间作一小桥与平坡相连，平台上散落的一簇簇粉红的落花。靠近左面的平台上有一老人扶杖远望。左边下半部则作碎石三四块，对坡岸微作交代，且是左半部平台、坡石的过渡、延伸。远处的山色以花青稍作渲染，染出峦头即止，隐约之间，已经将晚春的空气烘染出来。整个画面只有近景和远景部分，中间部分简略处理，一片虚空，而将观者的视线引向扶杖老人为主的近景上来。\n构图:该图为典型的一角式、半边式小景构图，是南宋马远、夏圭、刘松年绘画风格的综合。当然也与浙派的某些用笔、用墨和构图有相通之处。注重渲染以及水墨的苍劲追求和有意识地省略中间景物层次等，便与浙派的绘画风貌十分相近。\n笔墨:该图树叶的画法，先用湿墨点染，后用花青烘染。而浅坡皴法则用笔硬挺，笔、力紧实，线条洗练，树身的双勾线也坚硬爽朗，同老人衣纹线一道构成了画面的骨力，这样就与树叶的清润、近水的空蒙、远山的秀逸形成明显的对比。苍中带秀、粗中挟细，雅淡中蕴含骨力，营造出了既显苍老雄健又凝重清旷旷的绘画意境，已经包含有浙派画家和宋元人不具有的新的绘画因素，这是沈周在前人基础上的创造。沈周的粗笔运用，也遥接张僧繇疏笔画的观念。",[23,24,25,26,28,114,120,119,118,30,7,117,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99abcc648d34fdd1fe5bb5e6af96de.jpg","纵36厘米，横750厘米",[],{"id":13048,"slug":13049,"title":13050,"dynasty":54,"author":2636,"museum":167,"description":13051,"tags":13052,"thumbUrl":13053,"material":415,"size":13054,"collection":124,"collections":13055,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":128},221973,"qian-yan-jing-xiu-wen-zheng-ming-221973","千岩竞秀","画面底部，两位高士对坐于参天巨木之下，临飞瀑溪泉而谈。巨木引看画者的视线上升，进入由丘陵、碎石、坡壁、悬崖交织结合的复杂山体。\n繁密的山体多采用吴中文人画家较为推崇的短披麻皴表现，但又将披麻皴的柔润转变为尖锐。飞泉上部耸立突出的山崖高踞在厚重的基座之上，而基座山体又不断曲折延伸，形成了一条极为深远的脉络。这条脉络以“S”形向上延展，串联起无数细碎的山体和林木苔点，形成兼具向上生长又左冲右突、相互挤压的骚动之势。\n如此狭长的画幅，往往与其他画作构成条屏。文徵明也确实创作了与《千岩竞秀图》配成一对的《万壑争流图》。按照当时的风气，一旦作配对之画，则这种创作会立即显得专注于装饰、商业、礼仪，具有了某种功利性。然而，文徵明却在《万壑争流图》上明言“余性雅不喜作配幅，然于默川不能终却，漫尔涂抹，所谓一解不如一解也”，以此强调自己创作的非功利性。\n在经营位置方面，《千岩竞秀图》略微体现了郭熙所言的“自山下而仰山巅”的高远，更颇为夸张地突出了“自山前而窥山后”的深远，唯独忽略了“自近山而望远山”的平远。不仅如此，《千岩竞秀图》在用墨上完全没有使用近浓远淡的手法制造透视的效果，墨色笔触鲜有变化，在浅绛设色上也基本用平涂法，使得画上群山好像都生长在另一些山峰之上，而不是向远方延伸。\n此外，文徵明在画中还特别强调了山水平面的不可进入性——画中的高士走不出画纸，也并不生活在画中，而观画者更无法有“可行、可望、可游、可居”之感。画面与现实的凛然隔绝，其实也暗含着画家内心和现实之间的隔绝，并以此将精神寄寓在平淡无聊、郁郁无为的现实生活之外。",[23,24,28,118,202,30,117,7,540,64,61,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a88c6378825cac7e0dc34f649fe26e.jpg","画长142.6厘米，宽仅34厘米",[124,45],{"id":13057,"slug":13058,"title":13059,"dynasty":18,"author":3371,"museum":167,"description":13060,"tags":13061,"thumbUrl":13064,"material":13065,"size":13066,"collection":179,"collections":13067,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":128},221179,"fang-chun-yu-ji-tu-ma-lin-221179","芳春雨霁图","《芳春雨霽圖》描繪荒野平溪，窠石疏林。枝上嫩葉初露，春意濃郁。遠方煙靄出沒，隱約可見。畫中怪石用斧劈皴，老樹用嚴謹的雙鈎填墨法，樹葉用淡褐色點染。全圖用筆瘦硬勁峭，構圖簡括，畫風學馬遠而又有自己的創新，為馬麟山水畫佳作。",[23,24,25,114,28,30,29,118,13062,13063,579,289,117,7,2223],"春雨","霁景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc250f3f66b0a8950d7b6bc515696ee5a.jpg","轴，绢本，浅设色","纵27．5厘米，横41．6厘米",[],{"id":13069,"slug":13070,"title":13071,"dynasty":54,"author":2566,"museum":382,"description":13072,"tags":13073,"thumbUrl":13077,"material":78,"size":13078,"collection":44,"collections":13079,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":49},220444,"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[24,25,114,118,28,30,64,115,6027,61,579,639,34,578,13074,13075,7,73,13076,2451],"溪谷","岸石","渔人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","159.5X100.5cm",[44,124],{"id":13081,"slug":13082,"title":13083,"dynasty":223,"author":3775,"museum":20,"description":13084,"tags":13085,"thumbUrl":13087,"material":13088,"size":13089,"collection":124,"collections":13090,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":128},220372,"song-he-ming-qin-tu-wu-li-220372","松壑鸣琴图","本图为吴历中年之作，自识：“忆予与天球学琴於山民陈先生，不觉二十馀年矣。予欲写松壑呜琴图以寄意，常苦少暇。今从客归，久雨初晴，仅得古人形似并题七言：'琴声忆学鸟声圆，辛苦同君二十年。今日听松与涧瀑，高山流水不须弦。甲寅年小春廿日延陵渔山子吴历’。”下钤“吴历”、“家在桃溪深处”二印。",[23,24,25,202,114,118,30,761,117,69,3295,4638,7,61,206,243,37,70,3630,245,13086,11826],"笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f1ae5df2a2b2579a5aa0ea6073745c.jpg","设色,水墨","纵103cm，横50.5cm",[124],{"id":13092,"slug":13093,"title":13094,"dynasty":18,"author":434,"museum":167,"description":13095,"tags":13096,"thumbUrl":13097,"material":78,"size":13098,"collection":42,"collections":13099,"showCount":12892,"zanCount":11,"manualWeight":48,"mainColor":49},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,24,25,26,28,29,59,3586,61,62,399,30,7,70,592,1420,117,2572,1145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[42],{"id":13101,"slug":13102,"title":13103,"dynasty":223,"author":13104,"museum":382,"description":13105,"tags":13106,"thumbUrl":13107,"material":122,"size":13108,"collection":124,"collections":13109,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":128},220078,"feng-dong-tu-ye-xin-220078","风洞图","叶欣","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。\n叶欣的山水画素以“工细幽淡”著称，所作野岭荒烟，孤城古渡，大有令人动秦月汉关之思。此画描绘春游之景，在桃花三月，荡舟于青湖绿山之中，徜徉于烟雾弥漫的秀丽中，陶陶然如醉如痴。此画用笔轻灵，墨色清淡，景致悠远，意境秀雅，真所谓“淡远又淡远，淡远以至于无”的情趣。",[23,24,475,114,118,117,7,61,2113,1044,119,153,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51675d8aeea351bbbd90ae98e8b724b.jpg","88.2X52.3",[124],{"id":13111,"slug":13112,"title":13113,"dynasty":54,"author":434,"museum":167,"description":13114,"tags":13115,"thumbUrl":13116,"material":140,"size":179,"collection":331,"collections":13117,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":985},219978,"shuang-xi-tu-yi-ming-219978","双喜图","古松虬曲苍劲，皴笔勾勒出嶙峋肌理，两只鹊鸟栖于枝桠，一者侧目远眺，一者敛羽静立，灵动生姿暗破幽寂。坡石间野卉柔婉绽放，灵芝丛生，青绿与赭石晕染出幽润山意。工写兼施，勾勒细腻却无板滞之感，沉古设色晕染出静谧雅致的氛围，将山野一隅的清宁生机铺陈开来，藏祥瑞意趣于林泉小景，尽显雅致悠远的林下况味，把幽居山野的恬然意趣凝于笔墨方寸间。",[24,28,29,202,171,156,540,117,591,3287,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f61b9d977cd1947a41502e7a1ac6a3.jpg",[331],{"id":13119,"slug":13120,"title":13121,"dynasty":18,"author":434,"museum":167,"description":13122,"tags":13123,"thumbUrl":13124,"material":78,"size":13125,"collection":42,"collections":13126,"showCount":12892,"zanCount":48,"manualWeight":48,"mainColor":128},218844,"zong-yin-xi-jing-tu-yi-ming-218844","棕荫习静图","这幅画描绘了一个高丘在棕榈树荫下的石凳上睡觉，旁边有蝴蝶在飞舞。这幅画中的人物是用减笔描写的，棕榈树和石凳也是用笔描写的，石夔和梁楷应该是学过的，但笔画太逼真，太露骨。这幅画的标题可以是：庄周梦蝶。",[23,24,114,385,61,7,1067,228,3432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98ad217fdf5f3633a9235875c1c6e2cb.jpg","21x21.1",[42],{"id":13128,"slug":13129,"title":13130,"dynasty":620,"author":827,"museum":459,"description":13131,"tags":13132,"thumbUrl":13134,"material":808,"size":809,"collection":179,"collections":13135,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":128},288362,"yu-le-tu-juan-jing-hao-288362","渔乐图卷","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[23,152,24,26,114,30,639,63,64,117,7,343,13133],"渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0672ea030382358d7cd79b172143a3.jpg",[],40,{"id":13138,"slug":13139,"title":13140,"dynasty":223,"author":434,"museum":459,"description":13141,"tags":13142,"thumbUrl":13145,"material":808,"size":809,"collection":179,"collections":13146,"showCount":13136,"zanCount":11,"manualWeight":48,"mainColor":3247},263648,"ke-si-jia-xiu-jiu-yang-xiao-han-tu-zhou-yi-ming-263648","缂丝加绣九阳消寒图轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[152,202,25,13143,28,29,61,90,12160,4567,154,7,64,13144],"缂丝加绣","消寒主题","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1718cd0df1c90bc2f8347c3494656762.jpg",[],{"id":13148,"slug":13149,"title":13150,"dynasty":54,"author":7574,"museum":20,"description":13151,"tags":13152,"thumbUrl":13153,"material":9712,"size":13154,"collection":124,"collections":13155,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":1138},239516,"shan-shui-ren-wu-juan-ye-cheng-239516","山水人物卷","图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[152,24,25,26,28,118,30,61,63,116,7,244,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7881e7ced23cbff7521abe14b902b9f.jpg","纵35cm，横290.3cm",[124],{"id":13157,"slug":13158,"title":13159,"dynasty":223,"author":647,"museum":459,"description":13160,"tags":13161,"thumbUrl":13163,"material":360,"size":179,"collection":124,"collections":13164,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":128},238970,"fang-huang-gong-wang-fu-chun-shan-zhou-wang-yuan-qi-238970","仿黄公望富春山轴","黄公望的《富春山居图》被誉为中国十大传世名画之一。清初画家王原祁师法五代宋元名家，于黄公望用功尤深，一生痴迷，自言“所学者大痴（黄公望）也，所传者大痴也”。王原祁早期的绘画中，仿黄公望者尤多。《仿富春山居图轴》便是他52岁时仿效黄公望《富春山居图》的笔法而创作。",[24,25,202,114,118,60,30,7,244,206,500,3755,13162,10874],"中景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdce8d36036ddec2616f8760eb8e4ec.jpg",[124,103],{"id":13166,"slug":13167,"title":13168,"dynasty":54,"author":13169,"museum":459,"description":13170,"tags":13171,"thumbUrl":13172,"material":808,"size":809,"collection":179,"collections":13173,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":128},237927,"qiu-chuang-du-shu-tu-zhou-song-xu-237927","秋窗读书图轴","宋旭","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[24,202,114,28,30,540,358,61,117,488,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaebd32b4026d7b73f0eaa9c2c5d7b62.jpg",[],{"id":13175,"slug":13176,"title":13177,"dynasty":223,"author":434,"museum":20,"description":13178,"tags":13179,"thumbUrl":13180,"material":179,"size":179,"collection":124,"collections":13181,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":128},236182,"hong-wu-shan-shui-shan-mian-yi-ming-236182","弘旿山水扇面","此作用笔松秀温润，以淡墨皴擦写尽山林意趣。取景幽寂，草堂临水依林而建，柴扉半虚掩，暗合幽居避俗之思。坡岸错杂，古木虬曲苍劲，细笔点染枝叶，疏密间尽显山野萧森之态。曲水蜿蜒绕于石滩，右侧崖壁悬泉轻落，为静谧山居添了几分灵动生机。\n\n整幅浅施淡彩，干笔勾勒山石肌理，湿墨晕染林木华滋，将文人林泉高致凝于尺幅。无市井喧嚣，只余丘壑闲澹之美，淡远清和，引人沉湎于这份江南山居的悠然雅意之中。",[24,25,2895,30,118,114,63,64,7,117,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8e5ed61aa16afbae7a5f0315de3a66.jpg",[124],{"id":13183,"slug":13184,"title":5608,"dynasty":223,"author":5609,"museum":20,"description":5610,"tags":13185,"thumbUrl":13186,"material":415,"size":5614,"collection":179,"collections":13187,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":128},236157,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236157",[24,29,28,385,61,399,69,70,7,592,173,1620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c260827de0b7445380a8694a8650e49.jpg",[],{"id":13189,"slug":13190,"title":13191,"dynasty":54,"author":955,"museum":459,"description":13192,"tags":13193,"thumbUrl":13194,"material":179,"size":179,"collection":179,"collections":13195,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":128},235259,"qing-lv-shan-shui-tu-zhou-dong-qi-chang-235259","青绿山水图轴","此作用笔苍秀老辣，主山奇崛高挺，皴擦勾勒间尽显嶙峋骨相。坡岸林木错落舒展，枝叶含风，近滩浅渚清寂悠然。以书入画，线条带着书法般的散逸韵律，墨色干湿互济，留白空灵悠远，晕染出萧疏淡远的林下意境。题款与画面浑融无间，诗书画印相映成趣，褪去匠造之气，直写胸中丘壑，将山水清灵与文人雅怀融为一体，尽显淡宕萧散的逸格风神。",[24,25,202,27,28,30,289,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66cd1e7aa3ae669cd93a858b870ee35.jpg",[],{"id":13197,"slug":13198,"title":13199,"dynasty":54,"author":55,"museum":20,"description":3146,"tags":13200,"thumbUrl":13201,"material":40,"size":13202,"collection":179,"collections":13203,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":1138},233141,"lian-xi-yu-yin-tu-zhou-chou-ying-233141","莲溪渔隐图轴",[24,25,202,152,28,29,30,639,5330,7,35,1390,880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff729e8182fa8b670a238d77c7e5dfb3a.jpg","纵126.5厘米，横66.3厘米",[],{"id":13205,"slug":13206,"title":238,"dynasty":18,"author":4856,"museum":459,"description":13207,"tags":13208,"thumbUrl":13209,"material":179,"size":179,"collection":179,"collections":13210,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":49},228422,"zao-chun-tu-zhao-bo-su-228422","此作为典型南宋青绿山水，以石青石绿晕染山峦，敷色浓丽雅致，尽显华贵宋韵。长卷铺展平远山水，烟波横江裹挟春润雾气，层叠峰岫间茂林修竹错落，汀洲村舍、临江楼阁疏密排布，舟楫泛于碧水，仿佛能窥见江风拂过早春的清寂暖意。画面将山水与苑居景致相融，兼具自然灵秀与人工精巧，晕开江南早春独有的温润朦胧。卷后题跋与鉴藏朱印次第排列，墨痕与印色相映，让画作在清雅之外，更添流传千载的厚重书卷意蕴，尽显宋人的山水审美与文人雅趣。",[23,152,24,25,26,27,28,30,62,7,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F641d8a14375683a70a41699d825928db.jpg",[],{"id":13212,"slug":13213,"title":13214,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":13215,"thumbUrl":13218,"material":808,"size":809,"collection":3244,"collections":13219,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":49},226041,"sunset-on-the-seine-winter-effect-1880-mo-nai-226041","Sunset on the Seine, Winter Effect, 1880",[7526,3239,2395,32,7420,34,994,209,3987,13216,5404,8243,7,1390,10664,9940,9938,13217,38,11755],"冬日","冬日景象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3fb37de0bc5ea5233835f6f34ef48.jpg",[3244],{"id":13221,"slug":13222,"title":3281,"dynasty":223,"author":3282,"museum":459,"description":13223,"tags":13224,"thumbUrl":13225,"material":179,"size":179,"collection":179,"collections":13226,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":128},224592,"pan-tao-tu-zou-yi-gui-224592","此作取瑞祥之意，笔墨清妍雅致。丹顶鹤仙骨清奇，翎毛皴染细致，墨线勾出纤毫肌理，雪衣朱顶立于苍岩，石畔灵芝添幽趣。古桃枝夭矫横斜，硕实饱满，胭脂晕染果皮，将桃实鲜活温润之态尽显，枝叶敷色鲜亮，满目生机。飞瀑轻垂，晕开空山幽寂之境，左上题诗补白，让文思画意相融。画面疏密相宜，工致兼具文雅，将吉庆绵长的寓意藏于笔底，满卷悠然仙气，尽抒福寿安康的美好祈愿。",[23,24,29,28,153,1620,3286,117,204,3287,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7350a1afd655bc04aa623e85fabbe12d.jpg",[],{"id":13228,"slug":13229,"title":13230,"dynasty":223,"author":381,"museum":459,"description":13231,"tags":13232,"thumbUrl":13233,"material":179,"size":179,"collection":103,"collections":13234,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":128},224531,"huang-xie-zhu-feng-tu-juan-shi-tao-224531","黄澥诸峰图卷","此作用水墨铺就群峰崔嵬，壁立危岩间奇松倒挂，烟云在幽谷间缓缓氤氲，将山川的苍莽灵秀晕染开来。干湿浓墨互衬，皴擦勾勒出山岩硬朗肌理，既铺展出峰峦雄奇气势，又晕出江南山水独有的空濛诗意。\n\n左侧题字笔势纵逸跌宕，笔墨酣畅淋漓，文气与山岚相融，将壮游山水的快意寄寓其中。诗画合璧，把天地山河之美与文人笔墨情志共生一处，尽显山水与文思交织的悠然意境。",[23,24,25,26,114,118,120,119,30,31,244,7,500,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f153cf680d5f5ec448dd4e9ab6b5e63.jpg",[103],{"id":13236,"slug":13237,"title":1178,"dynasty":223,"author":4818,"museum":459,"description":13238,"tags":13239,"thumbUrl":13240,"material":179,"size":179,"collection":179,"collections":13241,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":128},224218,"shan-shui-zhou-wu-chang-shuo-224218","此作以高远章法铺陈，主峰雄踞上部，以篆隶笔法入皴，枯涩苍劲的线条勾勒山石肌理，朴拙雄浑间尽显厚重金石气。下半幅山林幽居藏于层林之中，屋舍错落临溪而建，溪桥横陈，枯木与青柯相映。\n\n水墨间晕染淡赭、花青，为清秋山林添上柔和暖意。题诗与画境呼应，将隐逸山居的静穆雅逸，融于雄朴的笔墨之中，把林泉高致的清隽滋味藏于苍辣笔意内，尽显冲淡高古的文人意趣，是典型的文人山水风貌。",[23,24,202,114,28,118,25,30,63,64,35,994,540,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eab5e3cd8b5a1741b2652c294477895.jpg",[],{"id":13243,"slug":13244,"title":13245,"dynasty":223,"author":13246,"museum":167,"description":13247,"tags":13248,"thumbUrl":13249,"material":179,"size":179,"collection":124,"collections":13250,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":128},222851,"hua-qiu-si-ming-quan-zhou-ai-xin-jue-luo-yong-rong-222851","画秋寺鸣泉轴","爱新觉罗永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,24,25,202,28,118,30,10545,4220,63,64,7,117,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa9f2b95b9bde32a8dedfb17b22ed5c.jpg",[124,45],{"id":13252,"slug":13253,"title":13254,"dynasty":54,"author":11317,"museum":111,"description":13255,"tags":13256,"thumbUrl":13257,"material":1218,"size":13258,"collection":124,"collections":13259,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":49},222838,"qiu-ling-shan-quan-tu-xiao-yun-cong-222838","秋岭山泉图","萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。这种淡远无尘、清墨涩笔创作出来的超然冷寂澹泊的境界，是逸的真实表述。萧云从的山水画在历史上之所以为众人推崇，即在于其反映生活的“真”和“美”。",[23,24,25,202,28,114,30,117,64,204,7,540,968,35,61,118,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777621cf6ec8952e48ae2dbb0be5b7fc.jpg","165cmx45.6cm",[124,45],{"id":13261,"slug":13262,"title":13263,"dynasty":54,"author":8650,"museum":167,"description":13012,"tags":13264,"thumbUrl":13265,"material":415,"size":13266,"collection":179,"collections":13267,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":49},222584,"fang-fan-kuan-zuo-ping-jiu-shu-lan-ying-222584","仿范宽坐凭樛树",[23,24,25,30,28,118,117,7,64,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6086be9329befee0f8455f19c8930b7.jpg","72.6x60.8厘米",[],{"id":13269,"slug":13270,"title":13271,"dynasty":54,"author":55,"museum":111,"description":13272,"tags":13273,"thumbUrl":13274,"material":40,"size":13275,"collection":124,"collections":13276,"showCount":13136,"zanCount":666,"manualWeight":48,"mainColor":49},222214,"su-hui-hui-wen-kai-xuan-shi-chou-ying-222214","苏惠回文凯旋诗","回文诗，也写作“爱情诗”“回环诗”。它是汉语特有的一种使用词序回环往复的修辞方法，文体上称之为“回文体”。唐代上官仪说，“诗有八对”，其七曰“回文对”，“情新因意得，意得逐情新”，用的就是这种措词方法。充分展示并利用了汉语以单音节语素为主和以语序为重要语法手段这两大特点，读来回环往复，绵延无尽，给人以荡气回肠，意兴盎然的美感。回文的形式在晋代以后就很盛行，而且在多种文体中被采用。人们用这种手法造句、写诗、填词、度曲，便分别称为回文诗，回文词和回文曲。虽然不乏游戏之作，却也颇见遣词造句的功力。",[23,152,24,25,26,29,28,59,61,170,90,7,62,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e131e2503e99eeb4a7fc3907f8df6.jpg","纵25厘米，横292米",[124,45],{"id":13278,"slug":13279,"title":13280,"dynasty":133,"author":1837,"museum":20,"description":13281,"tags":13282,"thumbUrl":13283,"material":1410,"size":13284,"collection":124,"collections":13285,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":49},221871,"ou-bo-ting-tu-zhao-meng-fu-221871","欧波亭图","鸥波亭为赵孟頫夫妇游息吟咏之所，据现传世著录赵一生曾多次创作以鸥波亭为题材的作品。有《鸥波亭图》(明张丑着《书画见闻表一卷》·五)、《鸥波亭图轴》(清李佐贤着《书画鉴影二十四卷》二○·一)、《赵松雪管仲姬合作鸥波亭图轴》(清邵松年着《古缘萃录十八卷》二·六)。此图正是邵松年载录的《鸥波亭图》，作于元大德八年(1304)甲辰春三月，时赵孟俯50岁，管仲姬42岁，乃精心合写神妙之作。赵孟俯白描人物并写柏树及楼台、山石，管仲姬为其补写大片白描双勾新篁，伉俪合作，珠联璧合，堪称“二美”。故弥足珍贵。",[23,24,25,202,28,912,61,62,116,7,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4dccc8fa8bf432c5b115720e7b83061.jpg","纵117厘米，宽54厘米",[124,45],{"id":13287,"slug":13288,"title":13289,"dynasty":133,"author":6001,"museum":20,"description":13290,"tags":13291,"thumbUrl":13292,"material":13293,"size":13294,"collection":124,"collections":13295,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":49},221819,"feng-le-lou-tu-xia-yong-221819","丰乐楼图","作者采用对角构图法，用水墨界画殿阁山水，线条纤如毫发，背景远山平缓润泽，开阔的水面与依依杨柳恰到好处地交待出建筑处于江南的环境。展观其作品，方寸之间微入毫芒，画家再现了宏大建筑的整体和细部，技艺精湛超凡，令人叹服。\n此幅构图之用笔与故宫藏夏永另几幅界画作品如出一辙。丰乐楼为为南宋都城临安著名的大酒楼之一。地处涌金门外西湖岸边。作品所取材的“丰乐楼”早已不存，夏永极度写实的画风以及右上以“小如蚁目”的蝇头小楷题写的31行“十里挲平丰乐楼”长题，无疑成为今天了解这座在宋代杭州曾颇有声名的楼阁的重要史料。",[23,24,25,59,437,30,62,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F844d7f5926052f741a315b41c30867db.jpg","绢本，墨笔","纵25.8厘米，横25.8厘米",[124,103],{"id":13297,"slug":13298,"title":13299,"dynasty":133,"author":13300,"museum":56,"description":13301,"tags":13302,"thumbUrl":13303,"material":506,"size":13304,"collection":124,"collections":13305,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":49},221812,"xue-shan-xing-lv-tu-yao-ting-mei-221812","雪山行旅图","姚廷美","绘山峦层叠，幽谷深邃，山中楼台隐现，树木耸立，枝杈横生，树叶凋零，似到深秋或隆冬季节；山脚溪水聚集成河，河面如镜，一桥横跨两岸，桥上二人骑马而过，此番行旅给沉闷的山中带来生气。 此图即为姚廷美结合李、郭与董、巨两派画法而又具备自家风貌的代表作。图中画大树枝叶茂盛，后有草堂，前有乱石，一高士正临流独坐。画面右部浅滩与对岸远山遥相呼应，使空间更加开阔深远。因为是综合两派画法而又寻求自家风格，所以笔墨生拙质朴，脱略前人蹊径。",[23,24,475,118,28,1080,117,994,69,63,205,7,74,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","98.1× 54cm",[124,45],{"id":13307,"slug":13308,"title":13309,"dynasty":18,"author":13310,"museum":20,"description":13311,"tags":13312,"thumbUrl":13314,"material":40,"size":13315,"collection":44,"collections":13316,"showCount":13136,"zanCount":11,"manualWeight":48,"mainColor":128},221416,"fang-che-tu-juan-wang-ju-zheng-221416","纺车图卷","王居正","《纺车图》是北宋画家 所创作的一幅设色画，现收藏于北京故宫博物院。\n该图画面上纺车忙碌着，一位面貌年轻村妇怀抱着哺乳的婴儿，坐在纺车前操作，稍远处一位老年村妇站立为之牵线。\n画面右侧绘有一个嬉戏的儿童，两位村妇之间则点缀一只小犬正在撒欢地玩着。\n背景描绘着随风披拂的柳树丝及其几段又粗又硬的树枝干。\n图中人物头发荆钗蓬鬓，鹑衣百结，曲尽情状，面目如生。\n纺车图是绢布手卷，纵21.6 厘米， 横69.2厘米，设色画，内容是农村中妇女纺线的情景。\n该画面的中心放着一架纺车，其傍置一竹筐，位中年妇女坐小椅上，左手抱着婴儿哺乳，右手轮转车机，前面站着一位老年妇女两手牵机。\n村妇身后有一儿童，席地而坐，手中拿着杆，牵着一只蟾蜍，活泼可爱。\n中间闻一小犬，画右有两棵老柳树，布景简洁，但却显出农村前条气象。\n元代书法家赵孟頫为此图题跋：“图虽尺许，而气韵雄壮，命意高古，精采飞动，真可谓神品者矣。\n” 明代画家吴宽亦于其上题诗并跋语：“可爱河东王氏子，丹青施誉动祥符。\n不传罗绮游春态，只画茅檐纺车图。\n” 大中祥符年间（18年—116年），北宋为了修筑宫殿、寺庙，招来一些从事建筑彩绘和壁画的民间画匠。\n由于王居正出身劳动人民，深谙民间疾苦，对下层贫苦农民有深厚的感情，所以画面反映的题材意义和人物形象，与宫廷画家及士大夫笔底的“农家乐”形象大异其趣。\n《纺车图》正是王居正看到妇女纺线情景所创作的一幅农家图。\n该图表现农村妇女的户外劳动。\n全幅主题突出，构图巧妙。\n近景描绘的人物被两条飘浮不定的线条分为两组，线的一端是边摇纺车边哺乳的中年妇女、围其左右戏青蛙的童子和狂吠的黑犬；另一端是弯腰伛背、双手拉着线团的老媪。\n人物彼此间聚散自然，神韵相通。\n图中纺车、竹筐、杌凳用界画形式表现，刻画精工写实。\n人物的衣纹用转折劲利的“战笔描”表现，中锋行笔，线条细劲圆润，随着人物形体的变化而顿折曲转，从而准确地塑造出人物的形态和衣料的柔软质地。\n图中的女性形象与晋代顾恺之、唐代周昉笔下的仕女相比，没有娇美的相貌、诱人的身材、华丽的服饰及尊贵的地位，她们仅是生活中最为普通的农村妇女。\n衣裤迭经补缀的老妇面容憔悴，动作迟缓，艰辛的生活令其相貌充满沧桑感。\n作者以写实的艺术手法不加美化地表现她们，意在赞扬她们安贫乐道的生活态度及朴实无华的个性美，同时也表达了对她们贫苦生活的同情。\n从绘画史的角度来看，《纺车图》并非在技法或风格创新上有重大突破或建树，其难得可贵价值在于它表现了下层劳动人民真实的劳动场面，为人们了解研究当时的社会和历史提供了珍贵的形象资料。\n该图流传有绪，在南宋时为 收藏。\n元代延祐四年（117年）， 在燕京以五十金购得。\n明代初为袁廷玉（柳庄）获取，明代中期杨维新从袁氏家购得。\n万历年间（157－1619年）它被周敏所收藏。\n清代初为仁和龚翔麟（蘅圃）收藏，乾隆朝时归江西陈玉方（希祖），嘉庆朝素村用旧拓唐楷碑向陈玉方换取此画，光绪年间（1875－198年）归陆心源所得，清末归武进盛所有。\n2世纪5年代，国家从香港将其购回，旋即入藏北京故宫博物院。\n在214年4月日至6月29日期间，北京故宫院开展“故宫藏历代书画展”，其中《纺车图》在北京故宫武英殿书画馆开展。\n王居正（生卒年不详），乳名憨哥，河东（今山西永济）人，北宋画家王拙之子。\n北宋大中祥符年间（18－116年），被招募至汴京（今河南开封）参与皇家宫殿的营造工程。\n其作画注重写实，落笔前反复观察，认真思考，力求于创作中真实地再现客观对象 。",[23,24,26,29,28,61,2055,5147,13313,1525,7,4471,6616,6118],"纺车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc3f7fb767d3a2e83a5bc151e376253.jpg","纵26.1厘米，横69.2厘米",[44,45],{"id":13318,"slug":13319,"title":13320,"dynasty":54,"author":7255,"museum":20,"description":13321,"tags":13322,"thumbUrl":13323,"material":78,"size":13324,"collection":124,"collections":13325,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":128},220104,"xia-qi-shi-ze-ye-zhou-chen-220104","夏畦时泽页","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[24,25,152,29,28,118,30,63,64,7,117,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81796ca826f29f94a83e6abdbb346ff.jpg","纵31.3cm，横26.4cm",[124],{"id":13327,"slug":13328,"title":13329,"dynasty":223,"author":13330,"museum":551,"description":13331,"tags":13332,"thumbUrl":13333,"material":303,"size":13334,"collection":124,"collections":13335,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":128},219981,"meng-you-tian-tai-tu-qian-du-219981","梦游天台图","钱杜","此卷作于嘉庆十九年甲戌（1814 年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[23,24,114,26,119,153,118,30,117,7,204,676,500,37,206,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[124],{"id":13337,"slug":13338,"title":13339,"dynasty":223,"author":2792,"museum":1202,"description":13340,"tags":13341,"thumbUrl":13342,"material":122,"size":13343,"collection":124,"collections":13344,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":49},219912,"ceng-luan-qiu-ji-tu-wang-hui-219912","层峦秋霁图","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。",[24,475,28,118,3433,31,7,206,117,2869,37,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088fa3e078227eb0f8335ab5623452f8.jpg","142x66.1cm",[124],{"id":13346,"slug":13347,"title":5886,"dynasty":223,"author":472,"museum":20,"description":5888,"tags":13348,"thumbUrl":5890,"material":78,"size":13349,"collection":124,"collections":13350,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":49},219747,"du-fu-shi-yi-tu-wang-shi-min-219747",[23,24,25,26,475,114,28,1067,7,117,206,63,116,64,289],"纵39厘米，横25.5厘米",[124],{"id":13352,"slug":13353,"title":13354,"dynasty":54,"author":12598,"museum":56,"description":13355,"tags":13356,"thumbUrl":13357,"material":122,"size":179,"collection":124,"collections":13358,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":128},219715,"xun-yang-song-ke-tu-ding-yun-peng-219715","浔阳送客图","此作以平远之法铺陈秋江暮色，设色清隽雅致。远景山峦以淡墨轻晕，烟岚空蒙，晕染出江天寥廓的空寂。江岸枯木萧疏，苍松虬然挺立于岩岫之间，为凄清秋意晕开一抹苍劲生机。\n\n画中江畔舟中对坐执盏，将临别之际的缱绻不舍凝于咫尺。线条清劲柔婉，山石林木以赭石花青轻染，带着吴门画派的温润秀雅，以简淡意境烘托出离别的黯然销魂，将诗文里的浔阳别绪藏进苍茫江色，淡而韵长，尽写古人送别的缱绻情深。",[24,28,29,30,61,115,7,117,32,118,202,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4df47f62d0026f7a3a39ac0a0b6aecb.jpg",[124],{"id":13360,"slug":13361,"title":13362,"dynasty":54,"author":4827,"museum":20,"description":13363,"tags":13364,"thumbUrl":13365,"material":114,"size":13366,"collection":124,"collections":13367,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":128},219206,"wei-wu-kuan-zuo-shan-shui-tu-du-qiong-219206","为吴宽作山水图","此图绘深山幽谷，溪桥流水，林木草屋，极为森藐悠远。构图饱满繁密，用笔秀润苍健，画风慎密清逸，格调高远古朴，意境深邃澹然。",[23,24,114,118,202,30,7,117,64,115,63,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3d1b0e984c125a383b3b438fdff855.jpg","纵108.2cm，横38.2cm",[124],{"id":13369,"slug":13370,"title":13371,"dynasty":223,"author":8347,"museum":20,"description":8348,"tags":13372,"thumbUrl":13373,"material":78,"size":8351,"collection":331,"collections":13374,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":49},218524,"cang-qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-218524","苍秋岚飞瀑图轴",[23,152,24,202,30,28,118,117,5213,64,7,62,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd631dc13de2e69a5451abd4d5af28756.jpg",[331],{"id":13376,"slug":13377,"title":599,"dynasty":54,"author":13378,"museum":423,"description":13379,"tags":13380,"thumbUrl":13381,"material":122,"size":13382,"collection":124,"collections":13383,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":49},218091,"shan-shui-tu-huang-qin-218091","黄溱","黄溱是明朝时期的一位著名山水画家。他的山水画风格独特，笔力清晰而富有张力，善于表现大自然的神韵和精神内涵。\n\n黄溱的山水图常常被视为“水墨山水画的巅峰之作”。他善于运用水墨画的特色，在画面中运用点、线、面三种基本元素，给人以一种清新自然、平和祥和的感觉。在他的山水图中，山峰挺拔，水流潺潺，构图精妙，富有层次感。同时，他还注重细节的表现，如树木的枝叶、山峰的峰顶、云的形态等都是细致而生动的。\n\n黄溱的山水图不仅对后世的山水画家产生了巨大的影响，也为我们展现了明朝时期浓郁的文化气息和自然风光。",[23,24,114,30,152,202,63,64,31,7,9777,788,119,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7f968486d57ed34a990414f516411c.jpg","89.4x47.6cm",[124],{"id":13385,"slug":13386,"title":13387,"dynasty":54,"author":434,"museum":382,"description":11961,"tags":13388,"thumbUrl":13389,"material":122,"size":179,"collection":179,"collections":13390,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":128},217951,"ming-ren-shan-shui-hua-ce-si-yi-ming-217951","明人山水画册(四)",[23,24,114,385,118,30,115,7,2113,243,116,1290,386,761,34,1300,995],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65090f9ae3fb49fb75219114df41c63.jpg",[],{"id":13392,"slug":13393,"title":3176,"dynasty":54,"author":13394,"museum":2956,"description":13395,"tags":13396,"thumbUrl":13397,"material":78,"size":13398,"collection":124,"collections":13399,"showCount":13136,"zanCount":928,"manualWeight":48,"mainColor":49},217944,"yun-shan-tu-he-cheng-217944","何澄","《云山图》是一幅山水画，描绘的是山峦起伏的山岭，被浓密的云雾笼罩。何澄在画中运用了笔触细腻的技巧，将云山的起伏变化和神秘感表现得淋漓尽致。画中还有几只飞鸟，增添了画面的生动感。\n\n《云山图》被认为是何澄的代表作，也是明朝山水画的经典之作。它不仅体现了何澄的艺术才华，也展示了明朝时期对自然、山水的描绘方式。",[24,25,202,114,30,881,341,342,7,289,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668c05cfb3d1386b314e770bdd9f091c.jpg","94.6x39.1cm",[124],{"id":13401,"slug":13402,"title":13403,"dynasty":223,"author":13404,"museum":13405,"description":13406,"tags":13407,"thumbUrl":13411,"material":114,"size":179,"collection":124,"collections":13412,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":49},215647,"yu-zhi-geng-zhi-tu-kang-xi-215647","御制耕织图","康熙","哈佛艺术博物馆","画面分帧铺展耕织图景，左帧河畔竹架悬桶，农人躬身引泉入田，溪流潺潺绕岸，树影婆娑覆径，尽显水乡农作的静谧韵致；右帧阡陌间耕者俯身劳作，小径上二人低语，远处田埂延绵，草木葱茏。以细腻白描勾勒人物情态与田园景致，写实中藏温婉意趣。笔墨凝注农桑日常的质朴细节，既显农人之勤苦，亦含对稼穑民生的深切关切。每一道线条都似在诉说土地与民生相依的厚重，让观者触摸到农耕生活里土地的温度、劳作的质感，以及那份对民生根本的珍视与叩问。",[152,24,385,437,119,61,64,7,155,13408,502,6179,13409,13410],"田埂","农作","民生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09ce01c004b9fb45e00d5c4f46f7b72.jpg",[124],{"id":13414,"slug":13415,"title":13416,"dynasty":54,"author":955,"museum":111,"description":1470,"tags":13417,"thumbUrl":13418,"material":122,"size":179,"collection":179,"collections":13419,"showCount":13136,"zanCount":48,"manualWeight":48,"mainColor":128},214649,"qiu-xing-ba-jing-tu-ce-8-dong-qi-chang-214649","秋兴八景图册-8",[24,25,385,28,27,120,119,118,30,115,62,7,156,64,117,881,2868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cbb4fb5fa1b201a43ea69f5624d486.jpg",[],{"id":13421,"slug":13422,"title":13423,"dynasty":133,"author":636,"museum":459,"description":13424,"tags":13425,"thumbUrl":13426,"material":808,"size":809,"collection":179,"collections":13427,"showCount":13428,"zanCount":11,"manualWeight":48,"mainColor":49},290829,"qing-jiang-chun-xiao-zhou-wu-zhen-290829","清江春晓轴","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。",[24,25,202,114,118,30,63,64,115,62,7,117,119,120,153,639,1654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9786e996b3ba3ec502dce1a7d92ae95.jpg",[],39,{"id":13430,"slug":13431,"title":13432,"dynasty":18,"author":550,"museum":167,"description":13433,"tags":13434,"thumbUrl":13437,"material":78,"size":13438,"collection":179,"collections":13439,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":49},288475,"yan-lan-xiao-si-tu-li-tang-288475","烟岚萧寺图","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,24,475,114,118,243,13435,63,62,13436,7,119,153],"萧寺","烟岚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ab447323c9edca7a862052bde53b86.jpg","51x49.5",[],{"id":13441,"slug":13442,"title":13443,"dynasty":223,"author":9866,"museum":459,"description":11050,"tags":13444,"thumbUrl":13446,"material":808,"size":809,"collection":179,"collections":13447,"showCount":13428,"zanCount":928,"manualWeight":48,"mainColor":128},288093,"fang-guo-zhong-shu-shan-shui-gua-zhou-zhu-da-288093","仿郭忠恕山水挂轴",[23,24,152,25,202,114,118,60,30,117,7,13445,61,153],"亭屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba1eb735d31099514794c6d03e0419.jpg",[],{"id":13449,"slug":13450,"title":13451,"dynasty":18,"author":298,"museum":459,"description":13452,"tags":13453,"thumbUrl":13454,"material":808,"size":809,"collection":179,"collections":13455,"showCount":13428,"zanCount":928,"manualWeight":48,"mainColor":49},287807,"yin-jiu-tu-li-gong-lin-287807","饮酒图","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,437,4310,688,7,1938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bdc0c0efadc0e36e98489d3713b3d9.jpg",[],{"id":13457,"slug":13458,"title":13459,"dynasty":223,"author":13460,"museum":20,"description":13461,"tags":13462,"thumbUrl":13463,"material":360,"size":179,"collection":124,"collections":13464,"showCount":13428,"zanCount":928,"manualWeight":48,"mainColor":49},237451,"fei-quan-bi-liu-zhou-fu-shan-237451","飞泉壁流轴","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[152,24,25,202,114,118,30,4629,7,117,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85371dd8be5ee5e07f223747997c78c.jpg",[124,103],{"id":13466,"slug":13467,"title":1178,"dynasty":223,"author":3550,"museum":459,"description":13468,"tags":13469,"thumbUrl":13470,"material":179,"size":179,"collection":124,"collections":13471,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":128},236915,"shan-shui-zhou-kun-can-236915","髡 残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[24,114,118,202,119,153,30,62,117,7,502,358,500,37,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[124,103,1822],{"id":13473,"slug":13474,"title":13475,"dynasty":223,"author":434,"museum":20,"description":13476,"tags":13477,"thumbUrl":13479,"material":40,"size":179,"collection":331,"collections":13480,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":49},236178,"hong-li-gu-zhuang-tong-jing-ping-yi-ming-236178","弘历古装通景屏","此作以高远法铺展冬日盛景，层叠群山覆着素雪，枯木寒林错落山间，淡墨晕染留白尽显积雪清寒之气，绘出北地冬日的萧寒辽远。\n\n下方宅邸界画工整流利，屋舍俨然。庭院之内人物往来鲜活灵动，或伫立寒暄，或穿梭备事，衣饰鲜亮，为清冷天地晕开融融暖意。画面以萧寒雪景衬宅邸温煦日常，一动一静相映成趣。笔触兼具北宗山水的苍劲雄浑与院体精工之致，将幽居雅集的闲逸意趣，融在素裹天地之中，清冷意境与人间暖意交织，尽显古典园居的雅致韵味。",[24,25,13478,28,29,59,30,62,61,7,818,70],"屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded276fb2933bdf92b40267c15571dff.jpg",[331,124,44,45],{"id":13482,"slug":13483,"title":13484,"dynasty":223,"author":8759,"museum":459,"description":13485,"tags":13486,"thumbUrl":13487,"material":179,"size":179,"collection":179,"collections":13488,"showCount":13428,"zanCount":928,"manualWeight":48,"mainColor":49},236043,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-236043","乾隆皇帝洗象图轴","此作以洗象场景铺陈，将禅门仪轨融于山林野趣。虬松苍劲盘桓，荫蔽出一方幽凉，巨象安驯仁厚，侍者持具涤扫，动作舒展自然。画面人物神态各殊，或静立垂目，或俯身劳作，衣袂翩跹雅致，敷色明柔妍丽。远景以淡墨晕出平沙烟岚，衬出清旷悠远的林下氛围。\n\n整作工笔精细雅致，线条婉转流畅，将肃穆礼佛之意揉入悠然山野图景，兼具规整细腻与空灵澹远，把清宁禅意与林下雅趣相融，观之如临其境，见一场祥和清寂的林间佛事，韵致悠长。",[24,202,29,28,61,5991,4537,1855,30,7,117,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e64a545b5a01030f15e8610b035d154.jpg",[],{"id":13490,"slug":13491,"title":3901,"dynasty":54,"author":11101,"museum":459,"description":13492,"tags":13493,"thumbUrl":13496,"material":179,"size":179,"collection":124,"collections":13497,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":128},235817,"shan-shui-ce-li-liu-fang-235817","此作以平远视角绘就郊野秋光，浅滩秋水澄澈空蒙，远岸林影澹澹如幻。近岸杂木荣枯相间，掩映村居茅舍，草垛朴拙错落，尽是乡野闲趣。\n\n笔墨简淡苍润，以淡赭晕染出温柔秋意，勾勒皴擦松灵随性，无浓艳铺陈，却将江南秋日的清寂闲适尽数铺展。搭配题诗相映成趣，师法吴门风神，把文人幽居的澹然襟怀融于浅淡笔墨间，萧散天真，尽显晚明文人画雅逸空远的意趣，于平淡间见风神。",[24,25,385,114,28,118,30,7,117,35,32,13494,13495,2421,1300,788,1290],"平远","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9287426ebcc1b5a52c748d89a972a0b.jpg",[124,331],{"id":13499,"slug":13500,"title":13501,"dynasty":133,"author":355,"museum":20,"description":13502,"tags":13503,"thumbUrl":13504,"material":1218,"size":13505,"collection":179,"collections":13506,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":49},233787,"ge-zhi-chuan-yi-ju-tu-zhou-wang-meng-233787","葛稚川移居图轴","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[24,25,202,28,27,30,118,61,90,117,64,7,881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff523932734437a78bb03a9d5015869.jpg","纵139厘米，横58厘米",[],{"id":13508,"slug":13509,"title":13510,"dynasty":54,"author":7795,"museum":167,"description":13511,"tags":13512,"thumbUrl":13513,"material":122,"size":13514,"collection":124,"collections":13515,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":128},231418,"ming-wen-bo-ren-fang-hu-tu-wen-bo-ren-231418","明文伯仁方壶图","《明文伯仁方壶图》描绘的是碧波万顷、祥云缭绕中，有仙岛浮现，道观数处隐于其间。依道教传说：仙山有五，方壶山即其一。即言：“渤海之东，不知几亿万里，有大壑焉。其中有五山焉:一曰岱舆，二曰员蟜，三曰方壶，四曰瀛洲，五曰蓬莱。”此画既取材于道教，所以在上方题名及下方款识处，也仿照了早期释道画加框榜题的习惯。此图无论在翻卷的波涛、飘动的云海或是尖拔的山峰、茂密的叶木，皆处处著笔繁谨，设彩明丽，呈现出家学的细笔画风。",[23,24,28,29,153,30,881,341,342,69,7,3817,5148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分",[124],{"id":13517,"slug":13518,"title":13519,"dynasty":223,"author":381,"museum":459,"description":13520,"tags":13521,"thumbUrl":13522,"material":179,"size":179,"collection":179,"collections":13523,"showCount":13428,"zanCount":928,"manualWeight":48,"mainColor":128},228980,"shan-shui-hua-hui-tu-ce-shi-tao-228980","山水花卉图册","在石涛的山水花卉图册共有八幅，多为水墨设色。\n在此选二幅，其一《豆角》，笔意恣肆，浓墨点干写藤，豆角略敷彩青，繁简细拙，得自天成。\n于画幅中自题：“紫花白花狼藉尽，眉毛碧翠眼中青。\n炎炎日晒草先腐，遮过流萤几点星。\n”属款“清湘枝下人济”。\n: : : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[152,24,25,385,114,118,119,153,30,63,64,115,244,7,8441],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg",[],{"id":13525,"slug":13526,"title":13527,"dynasty":54,"author":4888,"museum":459,"description":13528,"tags":13529,"thumbUrl":13530,"material":179,"size":179,"collection":179,"collections":13531,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":128},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","此卷以水墨晕染秋山胜境，峰峦逶迤层叠，林木疏密错落，江湾汀渚间渔舍错落、野航泛波，平远、深远之境交织铺展，晕出烟岚氤氲的空濛秋意。笔墨承袭元人雅致，披麻皴写就山石肌理，淡墨轻扫便生林泉幽寂之态，清疏秀润间尽显林下高致。\n\n卷后题跋错落排布，墨色浓淡相映，书画合璧，将山水丘壑与文人幽怀相融。展卷慢观，如卧游烟江叠嶂，静览林泉秋韵，尘俗之思尽散于淡墨青山之间。",[23,24,25,26,114,30,118,119,120,341,342,7,63,64,116,156,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":13533,"slug":13534,"title":13535,"dynasty":54,"author":55,"museum":459,"description":13536,"tags":13537,"thumbUrl":13538,"material":179,"size":179,"collection":179,"collections":13539,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":128},228452,"xun-yang-song-bie-tu-quan-juan-chou-ying-228452","浔阳送别图全卷","《唐寅集》是21年 出版的图书，作者是唐寅。\n本书主要收录了明代著名文人、书画家唐寅的精选优秀作品。\n本书收入我社“中国古典文学丛书”。\n唐寅（147-152），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人，为明代著名文人、书画家。\n在诗文方面与祝允明、文徵明、徐祯卿并称“吴中四才子”，在绘画方面与沈周、文徵明、仇英并称“吴门四大家”。\n本书汇辑传世《唐伯虎集》七种刻本全部作品为前六卷，以六如居士制义及画谱为附集四卷，还从抄本、墨迹、书画文献中补辑得诗文词曲六卷，并附录原集序跋、史传铭赞、轶事、诗文评论、诗文赠答、年表等六卷资料。\n辑校者周道振先生（1916-27）是著名的碑帖鉴藏家，本书由他和夫人张月尊女士共同署名，是目前所能见到的最详尽的唐伯虎集。\n前言 卷第一赋乐府五言古诗七言古诗 娇女赋 金粉福地赋 惜梅赋 短歌行 相逢行 出塞二首 紫骝马 聪马驱 侠客 陇头 陇头水 咏春江花月夜 春江花月夜二首 白发 伏承履吉王君以长句见赠作此以答 闻蛩 夜中思亲 伤内 赠文学朱君别号筒庵诗 咏怀诗二首 失题 戏题 咏梅次杨廉夫韵 江南春次倪元镇韵 姑苏八咏 登法华寺山顶 三高祠歌 桃花庵歌 花下酌酒歌 把酒对月歌 一年歌 一世歌 默坐自省歌 醉时歌 解惑歌 世情歌 怅怅词 百忍歌 嘅歌行 进酒歌 闲中歌 妒花歌 七十词 江南四季歌 七夕歌 渔樵问答歌 焖波钓叟歌 咏渔家乐 怡古歌 席上答王履吉 世寿堂诗 题五王夜燕图 题浔阳送别图 七夕赋赠织女 招仙曲二首 卷第二五言律诗五言排律七言律诗 游焦山 听弹琴瑟 送王履约会试 送行 赠寿 桃花庵与祝允明黄云沈周同赋五首 偶成 题张梦晋画 题溪山迭翠卷 题画 马 贺松郡伯寿诞 登昊王郊台 仲夏三十日陪弘农杨礼部丹阳都隐 君虎丘泛舟 沈征德饮予于报恩寺之霞骛亭酒 酣赋赠 正德己卯承沈征德顾翰学置酌禅寺见招猥鄙栖酒狼藉作此奉谢 春日城西 阊门即事 雨中小集即事 桃花庵与希哲诸子同赋三首 桃花坞祓楔 社中诸友携酒园中送春 姑苏杂咏四首 齐云岩纵目 与朱彦明诸子同游保叔寺 松陵晚泊 焦山 游金山 同诸公登金山 庐山 严滩 观鳘山四首 谒故福建愈宪永锡陈公祠 赠南野 领解后谢主司 送李尹 长洲高明府过访山庄失于迎迓作此奉谢 别刘伯耕 顾君满考张西溪索诗饯之故为赋此 赠徐昌国 寄郭云帆 检斋 上宁王 寿王少傅 奉寿海航俞先生从德卿解元之请也 寿严民望母八十 五十诗 花酒 寄妓 戏题机山 题碧藻轩 题沈石田先生后集 和沈石田落花诗三十首 岁朝 元宵 花月诗十首 江南送春 霜中望月怅然兴怀 和雪中书怀 四十自寿 四十自寿 五十自寿 漫兴十首 又漫兴十首 感怀 睡起 散步 独宿 寻花 夜读 叹世 避事 自笑 梦 附钱仁夫次唐子畏韵自道鄙怀 新春作 早起偶成 蒲剑 山家见菊 闽江声 除夜坐峡蝶斋中 正旦大明殿早朝 嘉靖改元元旦作 叹世六首 警世八首 哭妓徐素 白燕 西畴图为王侍御作 题友鹤图为天兴 题辋川 题画 …… 卷第三五言绝句六言绝句七言绝句 卷第四词曲 卷第五书尺牍序记 卷第六碑铭墓志铭墓碣墓表祭文招辞疏文启论表赞联句墨铭 附集一制义 附集二画谱卷之 附集三画谱卷之二 附集四画谱卷之三 补辑卷第一赋四言古诗五言古诗七言古诗五言排律七言排律 补辑卷第二五言律诗 补辑卷第三五言绝句 七言绝句 补辑卷一第四七言绝句联句题画联句 补辑卷第五词曲 补辑卷第六序说记手柬祭文跋自跋赞墓志铭",[23,27,28,29,26,25,120,30,61,115,64,116,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a159f53daa2ea54b03086c051be521.jpg",[],{"id":13541,"slug":13542,"title":13543,"dynasty":54,"author":3582,"museum":368,"description":13544,"tags":13545,"thumbUrl":13547,"material":179,"size":179,"collection":179,"collections":13548,"showCount":13428,"zanCount":928,"manualWeight":48,"mainColor":49},228286,"zhai-mei-gao-shi-tu-chen-hong-shou-228286","摘梅高士图","《对镜仕女图》是明代画家 创作的中国画，现收藏于清华大学艺术博物馆。\n该画画了一位恬静仕女，手托镜子自照，用笔细劲内敛，设色古雅隽永，人物形象稍事变形夸张，高雅脱俗。\n此图的画面突出的是一位恬静、娟秀的仕女形象。\n她两手托镜自照，神态悠闲，身穿交领右衽束袖短上衣，外系长裙，腰间配有锦纹织物以及玉环小绶。\n上衣短而下裙长，袖口窄，下角圆，裙腰束得很高。\n种桃三百树，颜色亦如之。\n莫向汉宫说，美人争自为。\n洪绶似天耳社长兄。\n洪绶之印（白文）、章侯（朱文）。\n­ 渊雷室藏（朱文）、曾在朱屺瞻家（朱文）、印章漫漶（朱文）。\n该画是作者陈洪绶中后期的作品，大约创作于明崇祯九年（公元166年）。\n此图为工笔人物画，画面居中位置的仕女，面颊丰润，眉目细长，体态较同时期的人物画略显丰腴，发鬓高耸以桃花、云簪装饰，其渲染方式承唐代之法，画中仕女手持青铜菱花镜合于胸前，微微颔首垂目视镜，眉宇间略显哀愁，若有所思。\n画中人物襦裙高系，刻意变形的比例关系，又通过深色的前襟和裙摆的佩饰加以视觉的平衡。\n画面环境树石相伴，泉水隐现，人景契合 ，画面右上角斜出的桃树与画面下方皴染的几处坡石等补景起到了突出主体与调节画面的作用。\n整个画面，人物属于密体而背景属于疏体，从而形成人和自然之间的节奏变化，在艺术处理上别具匠心。\n造形夸张，带圆弧形，时常失调，反映了文人写意画脱略形似的审美意识。\n此图设色淡雅，坡石以或浓或淡的墨色与淡赭色皴染勾勒，布局疏密得当，主体突出。\n画面左上角以草书题诗，线条苍劲老练，炉火纯青。\n此图的衣饰用笔，纯属中锋，则寓清刚圆劲于长短、轻重抑扬、顿挫之中，如同奏乐，使人体会到一种韵律感。\n该画用笔细劲流畅，十分强调线条的运用，特别是服饰的摺纹，借鉴了唐人、宋人、元人的线条技巧，又重性情挥洒自如，形成了人物的线条美。\n中国艺术研究院教授 ：仕女眉毛和眼睛距离很宽，显得意态非同寻常，人物仍然是圆浑丰满的。\n线条细劲，有转折和轻重的变化，且内含苍道刚劲之力。\n设色古淡，仅于女人嘴唇点朱红色，其余地方若淡若无。\n根据收藏印记可知该画经渊雷室、近代收藏家 等收藏，现收藏于清华大学艺术博物馆。\n218年6月16日，该画在“清华藏珍·翰墨丹青——清华大学艺术博物馆藏品展”中展出。\n陈洪绶（1598—1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟頫。\n绘有《水浒叶子》《博古叶子》《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》《笼鹅图》《升庵簪花图》《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,25,202,29,28,437,61,2043,2573,994,289,13546,117,7,244],"梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],{"id":13550,"slug":13551,"title":13552,"dynasty":133,"author":4160,"museum":459,"description":13553,"tags":13554,"thumbUrl":13555,"material":179,"size":179,"collection":179,"collections":13556,"showCount":13428,"zanCount":928,"manualWeight":48,"mainColor":49},228041,"chun-shan-fang-you-tu-sheng-mao-228041","春山访友图","此作用浅绛轻敷春山，晨雾如纱晕开层叠远峰，虚实错落间晕染出江南春日的空濛柔婉。湖面烟波浩渺，扁舟横波，舟上三人闲坐，将江湖散逸之趣藏于涟漪间。近岸山居隐于茂林之下，屋中似有知己晤谈，野意悠然。\n笔墨清润秀雅，皴染相融，既带着院体的精工细致，又藏着元人萧散的隐逸襟怀。水汽漫过浅滩淡渚，拉伸了山水的空间层次，以淡墨轻岚铺展出咫尺千里的悠远，将文人寄情林泉的雅怀，尽数藏进眼前的丘壑烟波之中。",[24,114,28,30,118,115,61,243,7,116,62,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc6bbce454ff2f4c5167e98576e758d.jpg",[],{"id":13558,"slug":13559,"title":337,"dynasty":18,"author":4856,"museum":459,"description":13560,"tags":13561,"thumbUrl":13562,"material":179,"size":179,"collection":179,"collections":13563,"showCount":13428,"zanCount":928,"manualWeight":48,"mainColor":49},227695,"chun-shan-tu-juan-zhao-bo-su-227695","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,152,24,25,26,27,28,30,29,118,243,7,676,63,64,73,35,37,3817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":13565,"slug":13566,"title":13567,"dynasty":620,"author":2232,"museum":551,"description":13568,"tags":13569,"thumbUrl":13570,"material":179,"size":179,"collection":179,"collections":13571,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":49},227597,"xi-shan-lan-re-tu-ju-ran-227597","溪山兰若图","《宋巨然溪山兰若图》为宋代画家巨然创作的一幅绢本墨笔画，现于美国克利夫兰博物馆藏。\n\n此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。\n\n巨然，五代宋初画家。江宁（今江苏南京）人。南唐亡，至开封（今属河南省），为开元寺僧。多以长披麻皴画山水，山顶多作矾头（石块），与董源并称“董巨”，为南方山水画派之祖。",[23,24,25,30,202,114,118,341,7,10545,206,69,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cac38e11a74525e15e53089cd141edb.jpg",[],{"id":13573,"slug":13574,"title":13575,"dynasty":18,"author":13576,"museum":459,"description":13577,"tags":13578,"thumbUrl":13579,"material":179,"size":179,"collection":179,"collections":13580,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":49},227536,"wan-ai-tu-wen-tong-227536","晚霭图","文同","明代画评家汪砢玉曰：壬戌之秋，程季白飞霞舫成，招李君实及珂雪与余集舫中，看新得汉玉图书约三百方，因示文同画卷，曰《晚霭横看》，君实题其后，用东坡思无邪斋章钤记。余共珂雪各印诸玉作谱。娄东朱锦春拨阮，夺落叶响，吾辈无暇听也。归而思此图，树瘦于竹，艇小于叶，遥山远水，层出林端，暮烟凝霭，掩映亭阁，画中人应尔横看无尽，意跃跃焉。东坡尝称与可下笔兼众妙，而不言其善山水。乃山谷于吴君惠处见文湖州《晚霭横看卷》，兼有王摩诘、关仝笔力，而世以洋州一派竹称之，何足以尽石室?",[23,24,25,26,114,118,30,31,7,358,32,115,156,994,500,674,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":13582,"slug":13583,"title":7507,"dynasty":223,"author":434,"museum":459,"description":13584,"tags":13585,"thumbUrl":13586,"material":179,"size":179,"collection":179,"collections":13587,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":49},223677,"qing-lv-shan-shui-tu-juan-yi-ming-223677","此作以平远之境铺展江南山色，石青石绿晕染山峦，古雅沉静的色调里，丘壑蜿蜒秀润，烟波轻笼远浦。村舍隐于松篁之间，板桥渡头有人彳亍，渔舟泛于云水之侧，处处晕染出山居幽澹的闲趣。\n画间题诗与山水呼应，笔墨丹青相融，将林泉隐逸的高致铺陈开来，既有唐宋青绿的古雅遗韵，又兼具清代文人山水的萧散简淡，观之如踏入世外云乡，坐看云野鹤、碧山清溪，沉浸式体味幽居雅趣。",[23,24,25,26,27,28,29,30,243,7,35,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b03cb7a92eca86e797d00727336bf91.jpg",[],{"id":13589,"slug":13590,"title":13591,"dynasty":223,"author":434,"museum":167,"description":13592,"tags":13593,"thumbUrl":13594,"material":179,"size":179,"collection":44,"collections":13595,"showCount":13428,"zanCount":928,"manualWeight":48,"mainColor":49},223410,"ma-zu-qi-ji-yi-ming-223410","妈祖奇迹","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,24,25,29,28,61,7,117,69,1044,1420,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c2fadc1572fad66eb39c5b51f5f0e9.jpg",[44,45],{"id":13597,"slug":13598,"title":13599,"dynasty":54,"author":434,"museum":20,"description":13600,"tags":13601,"thumbUrl":13604,"material":40,"size":13605,"collection":179,"collections":13606,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":49},223335,"si-lu-shan-shui-di-tu-meng-gu-shan-shui-di-tu-ming-nei-fu-hui-yi-ming-223335","丝路山水地图.蒙古山水地图.明内府绘","《丝路山水地图》又名《蒙古山水地图》，全图以大青绿山不绘制，东起嘉峪关西至天方城（今沙特麦加）的辽阔地域范围，共标有211个地理坐标，绘于明朝嘉靖三年至嘉靖十八年，为明朝宫廷的皇家地图。",[23,24,25,26,28,27,29,30,426,2795,32,2571,7,1044,13602,38,13603],"聚落","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf94e5caa9d9b66111751c89f4029807.jpg","59＊3012cm",[],{"id":13608,"slug":13609,"title":13610,"dynasty":223,"author":1998,"museum":20,"description":13611,"tags":13612,"thumbUrl":1361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猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[23,24,25,202,29,28,30,7040,1855,13622,204,64,244,7,1665,271],"蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","绢本，立轴，设色","184cm 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子摇橹。从这个逸士的形象看，可能是魏晋时“嗜酒能啸”并善鼓琴的“竹林七贤”之一阮籍的写照。远景山峦平缓。图中树石、远岸画法学董源、巨然，人物设色 取唐人法，描线细劲。画风与盛氏至正辛卯(1351年)所作的《沧江横琴图》近似。",[23,24,152,28,61,30,115,7,243,688,13667,13668,12450,1238,118],"长啸","阮籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4c131ade18640c2b048464aebfc709.jpg","纵167.5厘米，横102.4厘米",[124,45],{"id":13673,"slug":13674,"title":13675,"dynasty":54,"author":801,"museum":423,"description":13676,"tags":13677,"thumbUrl":13678,"material":555,"size":13679,"collection":124,"collections":13680,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":49},219982,"jiang-shen-cao-ge-tu-tang-yin-219982","江深草阁图","此幅作品以焦墨作江千石壁,二松虬结其间,松下一座茅亭,亭中幽人清坐,山拗间流泉飞落,山间小路曲折隐现,左中部有画家自题:'五月江深草阁寒苏门唐寅写增次明吴君．'下铃朱文印'唐子畏图书'、'某景书屋'．画心及诗堂有沈周、吕秉之、叶恭绰、吴湖帆等人题跋,整幅作品皴笔清劲、缜密,于风骨奇峭中透出明洁秀爽的雅逸之气。\n此幅作品虽无年月可考,但从风格上看,确为少年真迹．按吴湖帆的考证,沈周题诗书迹为60 余岁时作,沈又长子畏43 岁．沈周与吕秉之的题均为前辈勉励后生之语．按唐寅中弘治戊午解元时年29 岁,以吕秉之所题'子且不试艺'句,此幅作于29 岁之前无疑。",[23,152,24,25,202,114,118,30,62,117,64,7,61,204,3630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece99a18e25e8053cb0da8812a3492fb.jpg","纵84 厘米,横36.7 厘米",[124],{"id":13682,"slug":13683,"title":13684,"dynasty":18,"author":5229,"museum":167,"description":13685,"tags":13686,"thumbUrl":13687,"material":28,"size":179,"collection":124,"collections":13688,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":128},219950,"he-ting-xiao-shu-tu-zhao-shi-lei-219950","荷亭消暑图","水岸铺陈开清寂夏景，临水亭台错落相衔，飞檐回廊隐在垂柳荫翳间，柔条拂过静波，将暑意揉碎在漾漾水色中。远景轻笼烟霭，把天地晕成淡润的墨色，消解了溽热烦躁。\n亭畔静立侍者，等候凭栏观水的主人，晕染出幽居消暑的松弛意趣。全图笔法秀润温婉，布景虚实相映，古雅绢色衬出一片临水纳凉的闲雅天地，将耽于林泉、静享幽夏的隐逸襟怀晕染尽致。",[23,152,24,25,385,29,28,59,116,5330,7,117,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa754d1f34c6e3092b4d0c8dc675fbfe9.jpg",[124],{"id":13690,"slug":13691,"title":13692,"dynasty":223,"author":9132,"museum":111,"description":13693,"tags":13694,"thumbUrl":13695,"material":78,"size":13696,"collection":44,"collections":13697,"showCount":13428,"zanCount":928,"manualWeight":48,"mainColor":128},219428,"gu-kou-you-ju-tu-gao-cen-219428","谷口幽居图","高岑，字蔚生，号榕园。浙江钱塘（今杭州）人。明崇祯至清康熙间画家。居金陵（今南京），高阜弟，为“金陵八家”之一。初师同里朱睿营，晚乃以己意行之。擅山水及水墨花卉，写意入神。",[24,475,202,114,28,118,117,204,64,115,35,540,994,206,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fee21b39327abc0b64688cf74652603.jpg","纵332厘米，横80 厘米",[44,124],{"id":13699,"slug":13700,"title":13701,"dynasty":18,"author":434,"museum":167,"description":13702,"tags":13703,"thumbUrl":13704,"material":78,"size":13705,"collection":124,"collections":13706,"showCount":13428,"zanCount":928,"manualWeight":48,"mainColor":49},218799,"wu-kuan-shan-shui-yi-ming-218799","无款山水","本幅绘高士乘舟赴幽谷观瀑，清谈，山远地偏，谷深树茂，正是避世绝佳处。此幅树法笔墨近于李唐，而山石又掺以郭熙卷云皴，成画年代可上溯到南宋。",[23,24,152,30,114,115,2043,2031,7,117,204,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dddbf70d238823f6026d2c535d95f7e.jpg","28.9x54",[124],{"id":13708,"slug":13709,"title":13710,"dynasty":223,"author":12728,"museum":382,"description":13711,"tags":13712,"thumbUrl":13715,"material":303,"size":13716,"collection":44,"collections":13717,"showCount":13428,"zanCount":48,"manualWeight":48,"mainColor":128},218384,"wang-shi-zhen-yu-zhu-yi-zun-he-xiang-luo-pin-218384","王士禛与朱彝尊合像","苍松虬劲，藤蔓垂丝，幽涧边两位长衫文人对坐清谈——或拄杖凝思，或持卷浅笑，眉宇间尽是林下风致。画面以淡墨皴染山水，线条简练却神形兼备，松针的挺劲、衣袂的飘举皆见笔力。四周密布的题跋，墨色浓淡相间，与山水人物相映成趣，既是对画中人物的追慕，也为画面增添了厚重的文化底蕴。整幅作品融山水、人物、书法于一体，既展现了文人雅集的闲适氛围，也传递出对先辈的敬仰之情，笔意间流淌着传统文人画的气韵与风骨，仿佛能听见松风里的清谈声，望见涧水边的诗思流转。",[23,114,437,29,118,13713,540,61,117,206,271,1768,502,30,695,13714,7,413],"书画结合","文人形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389765da7665ff9ada03940d3872f88d.jpg","167.5x56.6",[44],{"id":13719,"slug":13720,"title":13721,"dynasty":133,"author":13722,"museum":423,"description":13723,"tags":13724,"thumbUrl":13725,"material":303,"size":13726,"collection":124,"collections":13727,"showCount":13428,"zanCount":928,"manualWeight":48,"mainColor":128},217867,"qiu-shan-xu-ting-tu-gu-ying-217867","秋山虚亭图","顾瑛","顾瑛，字晓元，号秋山虚亭，是中国元朝时期的一位著名画家。他的《秋山虚亭图》是他的代表作之一，在中国历史上享有盛誉。\n\n《秋山虚亭图》是一幅山水画，描绘了秋山虚亭所在的景观。虚亭本身便是一座建于山上的小亭子，顾瑛在画中给人以一种轻松、自然的感觉。画中的山峦、岭壑、林木、岚烟都十分逼真，令人观赏时感到沉醉。顾瑛运用了自然界中各种色彩，如绿、黄、棕、蓝等，使画面更加丰富多彩。\n\n顾瑛的《秋山虚亭图》不仅因其逼真的描绘技巧而闻名，同时也因其艺术风格的独特性而受到赞誉。他的画风清新自然，没有过多的装饰和修饰，从而让观者感受到一种轻松、恬静的心情。\n\n总的来说，顾瑛的《秋山虚亭图》是一幅精美的山水画作，值得一看。",[24,25,202,114,118,120,153,30,2042,116,7,117,35,206,695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae3bdef31feed66d361d23d9d2fdb34.jpg","69.5x39.4cm",[124],{"id":13729,"slug":13730,"title":13731,"dynasty":223,"author":13732,"museum":167,"description":13733,"tags":13734,"thumbUrl":13735,"material":122,"size":179,"collection":124,"collections":13736,"showCount":13428,"zanCount":928,"manualWeight":48,"mainColor":128},214725,"shan-shui-ce-ye-hu-gui-214725","山水册页","胡桂","小册页，前后以木质装帧，木质封面刻「胡桂画山水」五隶字。卷内所绘淡青绿山水，大抵以水岸河景为主，随着视点的拉近或放远，绘写远山、楼阁、帆船点点与渔子靠岸歇息等，卷末则以群山覆雪之景作结。本卷与其他两件玉器同储于长方木盒中。",[24,30,28,385,341,7,35,66,156,1290,2868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F804056f2501ac14a099ce287ab11f0cf.jpg",[124],{"id":13738,"slug":13739,"title":13740,"dynasty":133,"author":13741,"museum":167,"description":13742,"tags":13743,"thumbUrl":13745,"material":78,"size":13746,"collection":179,"collections":13747,"showCount":13748,"zanCount":666,"manualWeight":48,"mainColor":49},290955,"long-zhou-duo-biao-zhou-wu-ting-hui-290955","龙舟夺标轴","吴廷晖","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[24,202,59,28,12021,62,30,7,66,116,13744],"龙舟夺标","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfaac7c9f64d3cb8ff91cd3ca0120e38.jpg","124.1x65.6",[],38,{"id":13750,"slug":13751,"title":13752,"dynasty":133,"author":134,"museum":459,"description":13753,"tags":13754,"thumbUrl":13755,"material":808,"size":809,"collection":179,"collections":13756,"showCount":13748,"zanCount":48,"manualWeight":48,"mainColor":128},287532,"xi-shan-cao-ge-huang-gong-wang-287532","溪山草阁","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[24,475,114,118,202,30,116,7,244,64,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28c154e8f183ddf69ea2b4c2e577964.jpg",[],{"id":13758,"slug":13759,"title":6176,"dynasty":223,"author":13760,"museum":459,"description":13761,"tags":13762,"thumbUrl":13766,"material":179,"size":179,"collection":44,"collections":13767,"showCount":13748,"zanCount":48,"manualWeight":48,"mainColor":128},238432,"geng-zhi-tu-ce-mian-yi-238432","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。\n乾隆廿九年八月十五日生。生母索绰罗氏，即左都御史观保之女。绵亿聪慧机敏，文静内敛，又熟读经史，擅长书法，乾隆帝十分欣赏，遂亲命绵亿在尚书房读书。加上永琪英年早逝，而其六子中仅绵亿一人能长成，故乾隆特别疼惜自幼失去父亲的他。绵亿于乾隆四十九年，封贝勒。\n嘉庆四年（1799年），晋荣郡王，嘉庆帝对这位只小自己几岁的侄子倒也十分照顾。话虽如此，但在嘉庆十一年（1806年），绵亿为两子取名时私用金字偏旁被嘉庆帝斥责，更以“不似近支，自同疏远”为由，命绵亿退出乾清门并在外廷当差，也革除他领侍卫内大臣、管园大臣等职务。及后绵亿替两子更名为糸字偏旁，加上嘉庆十八年的癸酉之变，绵亿眼看有些王公们毫不在乎的样子，就正色道：“皇上是吾辈何人。即使以亲谊论，也应当代上分忧，况万乘之尊乎。”绵亿遂恳请嘉庆帝速还京师，以稳定人心。其英勇刚直得嘉庆赞赏，刮目相看，官职不但一阵子就恢复了，还倍受嘉庆帝的宠爱与重用。皇帝自此常说道：“朕侄辈惟绵亿有骨肉情也”。嘉庆二十年三月五日，与父亲一样体弱的绵亿病逝，终年五十一岁，谥曰“恪”。",[24,28,29,385,61,35,7,1113,13763,13764,13765,788,528,155,6179],"农具","农事","劳作场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe770663013436f33ad642d28eb3111f1.jpg",[44,45],{"id":13769,"slug":13770,"title":13771,"dynasty":54,"author":10638,"museum":459,"description":13772,"tags":13773,"thumbUrl":13774,"material":179,"size":13775,"collection":124,"collections":13776,"showCount":13748,"zanCount":48,"manualWeight":48,"mainColor":49},237638,"shan-shui-juan-li-shi-da-237638","山水卷","李士达（1550-1620），字通甫，号仰槐，江苏苏州人。万历二年（1574）进士，工画人物、山水。曾经论述画有五美：“苍、逸、奇、远、韵。”又有五恶：“嫩、板、刻、生、痴。”传世作品有《浔阳琵琶图》、《三驼图》、《西园雅集图》等。",[24,114,26,30,118,63,64,115,116,7,244,500,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f86bcf79245dd5c2e1d77c9916a7ed.jpg","纵16厘米，横48．3厘米",[124,103],{"id":13778,"slug":13779,"title":13780,"dynasty":223,"author":472,"museum":459,"description":13781,"tags":13782,"thumbUrl":13783,"material":179,"size":179,"collection":44,"collections":13784,"showCount":13748,"zanCount":48,"manualWeight":48,"mainColor":128},235773,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-shi-min-235773","清初六大家集册-山水页","绢本水墨 纵112 横5.2厘米 清 代 绢本水墨 纵112 横5.2厘米 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不知老将至’之句，益深慨叹。辛丑子月时敏又题。”钤“烟客”、“儒斋”朱文印二方。“己丑”为清顺治六年（1649年），作者时年58岁。“辛丑”为清顺治十八年（1661年），作者时年70岁。",[24,25,202,114,28,30,118,2042,4114,7,117,206,358,500,211,1474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e0e8853100f701b1b8e23fd8d4e2ff.jpg","纵96.7厘米，横41厘米",[],{"id":13844,"slug":13845,"title":13846,"dynasty":54,"author":3582,"museum":551,"description":13847,"tags":13848,"thumbUrl":13849,"material":415,"size":13850,"collection":179,"collections":13851,"showCount":13748,"zanCount":666,"manualWeight":48,"mainColor":128},232645,"xuan-wen-jun-shou-jing-tu-chen-hong-shou-232645","宣文君授经图","据画面题款，是崇祯十一年（1638）陈洪绶（1598－1652）以前秦宣文君授经典故为姑母创作的祝寿图。画面正中端坐一位老年女性人物，她身后竖立的屏风上绘有一幅青绿山水。除山水画中常见的山峦、树石、溪水和人物等图像元素，画面还同时绘有圆日和弯月，让人不禁揣测它们的象征含义。\n宣文君（283~？），姓宋氏，前秦女经学家，名失传，籍贯不详。太常韦逞之母。家传周官学。苻坚曾令学生一百二十人从她受业，使周官学得以保存流传，成为中国古代历史上第一位女博士。时人称为“宣文君”。",[24,25,202,29,28,61,30,7,881,1473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69d4b5e9e2797593d6accf0773b104f.jpg","172.8×55.7cm",[],{"id":13853,"slug":13854,"title":13855,"dynasty":54,"author":13856,"museum":3521,"description":13857,"tags":13858,"thumbUrl":13859,"material":230,"size":13860,"collection":179,"collections":13861,"showCount":13748,"zanCount":48,"manualWeight":48,"mainColor":128},231568,"zhu-lin-mao-wu-tu-song-ke-231568","竹林茅屋图","宋克","作者通过画面，将文人隐逸山林，抒发情思的自娱、适意、消遣的感情表达了出来。画家用笔畅健雄放，笔锋洒脱，多法李成；破笔焦墨点苔，则从董、巨而来。",[23,24,25,26,114,30,1067,358,7,117,119,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb4e1d6245dcb71a7735c7e31eea1c0.jpg","25.5×110cm",[],{"id":13863,"slug":13864,"title":13865,"dynasty":3235,"author":13866,"museum":459,"description":13867,"tags":13868,"thumbUrl":13869,"material":808,"size":809,"collection":124,"collections":13870,"showCount":13748,"zanCount":48,"manualWeight":48,"mainColor":49},230500,"shi-ting-shi-dai-si-ji-shan-shui-tu-dong-xue-zhou-230500","室町时代 四季山水图（冬）","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,475,202,118,28,30,117,540,994,35,5454,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365df2d00150d1369082f0a9ceeb720c.jpg",[124],{"id":13872,"slug":13873,"title":13874,"dynasty":223,"author":434,"museum":459,"description":13875,"tags":13876,"thumbUrl":13877,"material":179,"size":179,"collection":331,"collections":13878,"showCount":13748,"zanCount":48,"manualWeight":48,"mainColor":49},228932,"qing-yuan-ben-qin-can-tu-juan-xian-jian-yi-ming-228932","清院本亲蚕图卷 献茧","水岸错落萦回，古木蓊郁成荫，苍劲虬枝与素白繁花相互衬映，朱栏屋舍半隐林间，雅致内敛。左侧人物衣袂端整，正依礼徐行，暗合亲蚕仪典的肃穆庄重。\n\n整幅设色雅致柔和，工细写实。画师以精微笔触绘就林木的疏密层次，淡彩晕染出郊苑春日的温润静谧，将亲蚕礼的礼制深意融于幽阒雅致的园景间。既尽显宫廷院画的精谨考究，又于静谧景致里铺陈出古雅典正的氛围，让仪礼的庄重与苑囿的恬澹相融共生。",[24,26,28,29,61,7,69,411,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa2e1fd7862ef0f7939adee4b190d2.jpg",[331,124],{"id":13880,"slug":13881,"title":13882,"dynasty":876,"author":13883,"museum":459,"description":13884,"tags":13885,"thumbUrl":13886,"material":179,"size":179,"collection":179,"collections":13887,"showCount":13748,"zanCount":928,"manualWeight":48,"mainColor":128},227045,"zhong-qiu-tie-wang-xian-zhi-227045","中秋帖","王献之","《中秋帖》，传为晋王献之书，纸本，手卷，纵27厘米，横11.9厘米。\n《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,119,120,26,25,153,28,61,7,1665,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a2dbb0797a6f684a6a878caebc856.jpg",[],{"id":13889,"slug":13890,"title":13891,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":13892,"thumbUrl":13895,"material":808,"size":809,"collection":3244,"collections":13896,"showCount":13748,"zanCount":48,"manualWeight":48,"mainColor":49},225777,"lilac-bush-fan-gao-225777","Lilac 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Munich",[3239,6957,3148,411,9952,5404,7,6958,13914,13915,10864,13916,9097,13917],"野花","田块","自然风景","笔触明显","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a6b2bf0e73b570a5f05957088622f0.jpg",[3244],{"id":13921,"slug":13922,"title":13923,"dynasty":133,"author":434,"museum":20,"description":13924,"tags":13925,"thumbUrl":13926,"material":415,"size":13927,"collection":42,"collections":13928,"showCount":13748,"zanCount":48,"manualWeight":48,"mainColor":985},223604,"qiu-shan-xing-lv-tu-yi-ming-223604","秋山行旅图","全图结构图清晰，便于查看。如果从下到上，根据景物的类型和排列方式和画家的描绘，将图片分成两组显示，三个部分在一个小概览中查看。画面会发现，这幅画气势磅礴，动感十足，透视感极深。首先，这幅画有一个从下面看的视角。创作者应该在这样的山脚下作画，在这样的山脚下作画，给观者一种真实的感觉。其次，这幅画的画面感不是很强，因为它也有深度感。如果你仔细观察，你会捕捉到无数小场景，包括天坑。例如，树木进入若隐若现的亭台、台阶、围栏等，给观者一种未来的无限视觉体验。\n一开始的山间小路，路​​上的行人等等，这些照片的全图空间把辫子拉得很好，在画面的空间和空间上进行了借鉴，让画面变得生动和对透气性的向往。你看到的是它带来的良好的中间立场。简练却又很写实，如尖山亭，是对亭子的细致刻画，笔触细腻，顶景近楼勾勒。三种节奏，给画面带来强烈的节奏感，这也是大师的心声。\n最真实的秋天很轻松。通过分析图片，不难发现，这幅《山间游记》与西方的素描是一样的。对象有近、大、远、小、近、近、细、统一。光源从哪里来。画底的山石，墨色深沉，体量大，影重。像山和树一样，墨色淡，整体不大，但也画了一个简单的介绍，而不是看风景的内在特征和魅力。例如，在风景部分，山的稍左侧和受光面部分较远，可能是朝阳的一面，所以墨色会低于光面，数字污渍会相对少一些。\n这样，在远景中，山体被许多朴素的松树压缩，使山体的一部分具有想象性和结构性，从而在画面中产生特定的整体统一感，真实而不冲动的视觉效果。仔细观察，你会发现，这些松树虽然是画出来的，但也能描绘出来。在统一中，各有特色，做到内涵丰富、厚度小、特殊性强，值得观者细细品味。\n还有一件事值得学习。中间作画的方法和水墨的轻快关系到景物的画和轻快。例如，岩石的长度被薄片覆盖，厚厚的大岩石被卷云薄片覆盖。树的种类为浅墨色，用较重的墨色挤压浅墨画，打开空间和树木之间的杂乱空间，避免树木之间的杂乱群落。凭借精湛的包装，观众拥有精致的视觉体验。\n如果用诗词介绍来形容整幅画，“枯藤老树昏鸦，小桥流水一家”。 “主题是艺术家用精湛的手工技艺和浪漫诗意的艺术创作观者，并附上了细致而巧妙的《秋山之旅》。",[23,24,25,114,28,118,30,243,117,7,994,115,2869,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[42,124,103],{"id":13930,"slug":13931,"title":13932,"dynasty":223,"author":2985,"museum":20,"description":13933,"tags":13934,"thumbUrl":13935,"material":316,"size":13936,"collection":124,"collections":13937,"showCount":13748,"zanCount":48,"manualWeight":48,"mainColor":49},223103,"san-xi-tang-ji-yi-tu-dong-bang-da-223103","三希堂记意图","图为人物故事题材，以山水、楼阁作为环境衬托。画以水墨为主，略作淡设色，笔墨清朗，儒雅涵蓄，富文人画韵致。史上关于王氏父子的故事有很多，此图即表现其中一则。据传，王献之自幼学书甚勤，全神贯注。王羲之趁其不备从身后欲拔其手中之笔，却未提起，于是称赞他握笔有力。图中，献之神态端凝，伏案作书，羲之正欲提笔，人物生动，画面情节性很强",[23,24,25,30,114,118,117,7,204,116,69,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01542a4359a4273ef1ba982d468592bb.jpg","纵201.5cm，横154cm",[124,103],{"id":13939,"slug":13940,"title":13941,"dynasty":223,"author":858,"museum":514,"description":859,"tags":13942,"thumbUrl":13943,"material":140,"size":869,"collection":179,"collections":13944,"showCount":13748,"zanCount":48,"manualWeight":48,"mainColor":128},223061,"hong-lou-meng-47-sun-wen-223061","红楼梦47",[23,24,29,28,26,61,170,63,64,7,35,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610bde4c2f78ed4a71fd87145a23f3d6.jpg",[],{"id":13946,"slug":13947,"title":13948,"dynasty":223,"author":13949,"museum":551,"description":13950,"tags":13951,"thumbUrl":13953,"material":3758,"size":13954,"collection":124,"collections":13955,"showCount":13748,"zanCount":48,"manualWeight":48,"mainColor":128},222798,"xiang-jiao-qiu-wu-tu-juan-zou-zhe-222798","乡郊秋雾图卷","邹喆","乡郊秋雾图是一幅立体展示江南景色的长卷。画家以全景的视角，细腻的笔触，刻画薄雾之下的山光水色，画面大开大合，云、水、山、树布置得宜，阡陌河湖穿插有致，全画给人一气呵成之感。",[23,24,26,114,118,475,13952,7,117,32,35,502,61,37,500,674,1300],"秋雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","29.5x280cm",[124,103],{"id":13957,"slug":13958,"title":13959,"dynasty":54,"author":9968,"museum":658,"description":13960,"tags":13961,"thumbUrl":13962,"material":230,"size":13963,"collection":124,"collections":13964,"showCount":13748,"zanCount":928,"manualWeight":48,"mainColor":1138},222084,"han-shan-shi-de-tu-you-qiu-222084","寒山拾得图","寒山、拾得是唐代富有传奇色彩的人物。此图画唐贞观年间高僧寒山与拾得二人。寒山亦称寒山子，居天台始丰县寒岩，好吟词偈，状似疯癫。拾得是孤儿，寺僧拾而养之，故名拾得，在寺执炊涤器，与寒山友善。\n《寒山拾得图》是人物画中的佳作, “奇而不诡于正，真高流逸墨”。用笔大胆粗犷,线条流畅爽利。图中寒山右手指天,谈笔风生；拾得袒胸露腹,欢愉静听。两人披头散发,憨态可掬。从画面上，我们能够感觉到他是受了李唐画风的影响，两个人物安排在近处，给人一种很强烈的视觉印象，而远景的虚化处理，更强化了人物的形象。背景部分用笔较为豪放粗简，向外探出的树干向背分明，树枝行笔错落而不失坚挺，表现藤蔓的线条潇洒飘逸。",[23,24,114,437,202,61,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9b4eeb60e8f3530895eeb0a7701d9c.jpg","纵121厘米，横30 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厘米 横48.3 厘米",[],{"id":14079,"slug":14080,"title":14081,"dynasty":18,"author":2712,"museum":459,"description":14082,"tags":14083,"thumbUrl":14084,"material":808,"size":809,"collection":179,"collections":14085,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":49},288828,"song-liang-tu-yan-wen-gui-288828","送粮图","燕肃(961年—1040年)，字穆之，字仲穆，一署上谷，祖籍青州益都，定居曹州（今山东曹县）。北宋著名科学家、画家、诗人。\n燕肃少孤贫，巧思过人，宋真宗大中祥符年间进士，官至龙图阁直学士，人称“燕龙图”。学识渊博，精通天文物理，有指南车、记里鼓、莲花漏等仪器的创造发明，著有《海潮论》，绘制《海潮图》以说明潮汐原理。工诗善画，以诗入画，意境高超，为文人画的先驱者。",[23,152,24,26,114,30,118,61,7,117,62,64,115,207,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F533c76e388175bfa6ab73fbb0e8b3419.jpg",[],{"id":14087,"slug":14088,"title":14089,"dynasty":18,"author":198,"museum":459,"description":5211,"tags":14090,"thumbUrl":14091,"material":808,"size":809,"collection":179,"collections":14092,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":985},287736,"qiu-lin-fei-pu-tu-fan-kuan-287736","秋林飞瀑图",[24,202,30,64,3095,117,7,118,28,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4ec449c0eceec6cc01b1d9ec1ce3d6e.jpg",[],{"id":14094,"slug":14095,"title":14096,"dynasty":54,"author":955,"museum":459,"description":3846,"tags":14097,"thumbUrl":14098,"material":808,"size":809,"collection":179,"collections":14099,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},283755,"fang-zhao-meng-fu-qiu-shan-tu-zhou-dong-qi-chang-283755","仿赵孟頫秋山图轴",[24,202,60,27,28,30,2042,62,7,64,117,153,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8614638114781952fe09e68c6cd84e.jpg",[],{"id":14101,"slug":14102,"title":2626,"dynasty":18,"author":11482,"museum":459,"description":14103,"tags":14104,"thumbUrl":14105,"material":808,"size":809,"collection":179,"collections":14106,"showCount":162,"zanCount":11,"manualWeight":48,"mainColor":985},283687,"xia-shan-tu-qu-ding-283687","京师（今河南开封）人。仁宗朝（一o二三）为图画院只候。工画山水，得燕文贵之髦髴。画四时风物之变态，与夫烟霞惨舒，泉石凌砾之状，善分布，涧谷间见屈曲之状。然有笔而无思致，林木皆崦霭而已，虽为许道宁之师，道宁气格似过之，学不及也。",[152,24,25,26,30,114,118,117,7,64,115,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c9182eec083f60ca90336886ce8a61.jpg",[],{"id":14108,"slug":14109,"title":14110,"dynasty":133,"author":14111,"museum":459,"description":14112,"tags":14113,"thumbUrl":14117,"material":808,"size":809,"collection":179,"collections":14118,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":49},283621,"wei-mo-shuo-fa-tu-he-bi-juan-li-sheng-283621","维摩说法图合璧卷","李升","画面清波荡漾,湖上有小桥、扁舟,远望峰峦高耸,树林参差,山间古寺隐约可见,景色清幽,一派送别离人的气氛。",[23,152,24,25,26,114,118,30,62,117,7,37,14114,14115,119,120,153,14116],"佛教","维摩说法","写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6614b55fa7f765c035cfb69c0288099.jpg",[],{"id":14120,"slug":14121,"title":14122,"dynasty":223,"author":14123,"museum":459,"description":14124,"tags":14125,"thumbUrl":14126,"material":179,"size":179,"collection":124,"collections":14127,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},239418,"fang-li-cheng-shan-shui-zhou-xu-fang-239418","仿李成山水轴","徐枋","徐枋（1622年5月3日——1694年11月7日） ，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,25,202,114,118,60,30,63,64,115,116,994,35,117,7,66,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[124],{"id":14129,"slug":14130,"title":1178,"dynasty":223,"author":9866,"museum":459,"description":14131,"tags":14132,"thumbUrl":14133,"material":179,"size":179,"collection":124,"collections":14134,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},237906,"shan-shui-zhou-zhu-da-237906","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[24,114,202,118,30,7,117,579,289,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaeb96d04f2547d63809c206cc57897c.jpg",[124],{"id":14136,"slug":14137,"title":14138,"dynasty":223,"author":2792,"museum":459,"description":6801,"tags":14139,"thumbUrl":14140,"material":179,"size":179,"collection":331,"collections":14141,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},237888,"wang-hui-ya-zhen-tu-heng-fang-ye-wang-hui-237888","王翚鸦阵图横方页",[24,201,2244,118,114,156,994,117,64,7,289,153,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f77cb5f5efef0d0dd541b2a6f81ea3a.jpg",[331,103],{"id":14143,"slug":14144,"title":14145,"dynasty":223,"author":1533,"museum":20,"description":14146,"tags":14147,"thumbUrl":14148,"material":936,"size":3662,"collection":124,"collections":14149,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},237611,"fang-wu-zhen-shan-shui-zhou-wang-jian-237611","仿吴镇山水轴","本幅上部自识长题，款署：“王原祁画并题。”钤“王原祁印”白文印，“茂京文”白朱文印，“扫华庵”朱文印。右下角钤“西庐后人”朱文印。\n此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[24,114,202,118,60,153,30,204,7,35,117,206,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde793e600e15d4b6130ffe9d41788be4.jpg",[124,103],{"id":14151,"slug":14152,"title":14153,"dynasty":223,"author":381,"museum":20,"description":14154,"tags":14155,"thumbUrl":14156,"material":360,"size":179,"collection":124,"collections":14157,"showCount":162,"zanCount":928,"manualWeight":48,"mainColor":49},237409,"yuan-ji-tai-bai-shi-yi-shan-shui-tu-zhou-shi-tao-237409","原济太白诗意山水图轴","清初的画坛上，和尚画家之多，在中国绘画史上是极其罕见的。更为人所熟知的，便是弘仁、髡残、八大山人、石涛这四位活跃于明末清初的僧人画家，他们与清初“四王”分庭抗礼，在画史上合称“四僧”。为了让读者更加了解他们的生平及书画创作风格，文藏特将此作为系列文章形式展现给大家。\n石涛是中国艺术史上一位颇具研究话题的人物，他的身世经历、佛老信仰，交游关系，书画理论、诗文解读、作品辨伪，无不令后世的书画爱好者、鉴藏者和研究者们着迷。然而他的这些话题之所以会引起后世如此巨大的关注度，正是源自他的书画艺术，在历经三百多年的沉淀之后，依旧散发着无穷的魅力，给人以新鲜之感。这种魅力便是其每幅作品中无不体现着的诗境、书境和画境的完美结合。\n石涛原名朱若极，广西桂林人，是明宗室后裔，明靖江王朱亨嘉的长子，他晚年常自署款「阿长」、「极」，并有「赞之十世孙阿长」等印，以表明自己的身世。石涛出生仅两年明王朝就灭亡了，随后，他的父亲朱亨嘉又在南明朝廷内部的权力斗争中失败被杀。此时，年仅四岁的石涛，不得不由家中仆臣护送逃至全州躲藏，后在当地湘山寺出家为僧，法名原济，字石涛；他的仆臣也一同在此出家，法名原亮，字喝涛。从此二人以佛门师兄弟相称。在明末清初政权更迭的时候，很多不愿降清的明室宗亲和文人旧臣除了以死殉国，就只能选择隐藏身份出家为僧这一条路了，而石涛更要躲避来自清王朝和南明政权的双重追杀。\n隐居期间，石涛读书临帖，研习书画，同时跟随师兄喝涛旅居武昌，游历两湖地区，后又从武昌顺江而下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[24,25,202,228,114,118,30,35,7,540,117,64,61,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[124,1822],{"id":14159,"slug":14160,"title":14161,"dynasty":223,"author":434,"museum":20,"description":14162,"tags":14163,"thumbUrl":14164,"material":40,"size":179,"collection":124,"collections":14165,"showCount":162,"zanCount":928,"manualWeight":48,"mainColor":49},236180,"hong-li-sai-yan-si-shi-heng-zhou-guan-jiao-yi-ming-236180","弘历塞宴四事横轴(贯跤)","以青绿山水铺就雄浑底色，层峦茂林间铺展塞宴盛景。校场之上跤手相搏，周遭武士肃立分列，官员侍从神态各异，或凝神观赛，或静候待命。远景帐幄连绵、驼队逶迤，将秋狝行猎的塞外氛围烘托尽致。\n画作工笔细腻，设色妍丽雅致，兼具院体画的规整纪实与风物绘的生动鲜活，将塞上习武宴游的盛大场景定格，既彰显出康乾盛世的恢宏气象，也尽显游牧围猎的独特塞外风情，是纪实性与艺术性相融的佳作。",[24,152,26,28,29,30,61,90,6207,412,7,411,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0d7a3293f2e36650fa58befd46b885.jpg",[124,44,45],{"id":14167,"slug":14168,"title":14169,"dynasty":223,"author":7748,"museum":459,"description":14170,"tags":14171,"thumbUrl":14172,"material":808,"size":809,"collection":44,"collections":14173,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},234937,"yue-man-qing-you-ce-chen-mei-234937","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,25,385,28,29,61,62,64,173,7,117,70,864,69,694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b64d9f8816d7446b826324b78143f92.jpg",[44,45],{"id":14175,"slug":14176,"title":14177,"dynasty":54,"author":434,"museum":459,"description":14178,"tags":14179,"thumbUrl":14181,"material":179,"size":179,"collection":179,"collections":14182,"showCount":162,"zanCount":928,"manualWeight":48,"mainColor":49},234931,"ming-ren-qiu-jing-huo-lang-tu-zhou-yi-ming-234931","明人秋景货郎图轴","当“双十一”掀开一个全民购物狂欢的序幕，放眼远在千百年前的临安街头，货郎们一人一担一声叫卖，仅凭这种最原始的“人肉购物车”，便足以吸引市井众人的注目，引出一番欢悦的情景。李嵩等画家以此为题奋笔挥毫，定格了过去一段段市井风貌。沉醉于塞满购物车再一朝清空快感的，不光只有21世纪的网购达人，中国古人的“购物车”更是让人眼花缭乱，甚至叹为观止。 在历代流传下来的“货郎图”图示中，我们便可略窥一二。宋代绘画是写实主义的巅峰，《货郎图》则是这一巅峰上的一片奇岫。南宋吴自牧《梦粱录》中提到，当时杭州的小贩在沿街叫卖时“挑担抬盘架”，“担瑜石钉铰金装架儿”，《清明上河图》中，也有货郎在一根扁担的两头各挑一个货架，说明这种一根扁担挑两个货架的销售形式，在两宋很是普遍。因此，画中这位货郎和他的货担，可谓是对十一至十三世纪的流动小商贩的忠实记录。“货郎图”是宋代较为流行的一种表现当时流动小商品买卖的绘画形式。如今存世较为知名的主要有四幅南宋李嵩的《货郎图》（分别藏于北京故宫博物院、台北故宫博物院、美国大都会博物院、美国克利夫兰美术馆）以及一幅传为北宋苏汉臣所作的《货郎图》。",[24,28,29,202,61,5147,2055,3412,7,173,117,1621,175,2869,1344,6145,14180,2725],"棚架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b38b5a780482a0e4fa98b8ed68079b5.jpg",[],{"id":14184,"slug":14185,"title":14186,"dynasty":54,"author":2636,"museum":20,"description":14187,"tags":14188,"thumbUrl":14190,"material":936,"size":14191,"collection":179,"collections":14192,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},233789,"cha-ju-shi-yong-tu-wen-zheng-ming-233789","茶具十咏图","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏•茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。",[24,25,202,114,30,7,69,156,119,118,14189],"细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F078ace09b71a9b7aa104d7a634ed1d23.jpg","纵136.1厘米，横26.8厘米",[],{"id":14194,"slug":14195,"title":14196,"dynasty":54,"author":110,"museum":20,"description":14197,"tags":14198,"thumbUrl":14199,"material":14200,"size":14201,"collection":179,"collections":14202,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},233413,"jiang-ting-bi-shu-tu-shan-ye-shen-zhou-233413","江亭避暑图扇页","此图是幅笔笔紧贴诗意的画作。图绘夕阳下，高士策杖至江亭避暑的小景。扇面构图为左右开合式，设色以绿色为主，其青翠明洁的色调与简约的景致相呼应。清爽、平淡的审美意趣与消除烦燥求得清凉的避暑主题相契合，烘托出远离市俗寻幽独行高士其清逸雅淡的心境。",[24,25,2895,114,28,118,30,116,540,117,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f7c91afe93a2c98ff6b01f36ce6f9d.jpg","金笺，设色","纵18厘米，横46厘米",[],{"id":14204,"slug":14205,"title":14206,"dynasty":54,"author":7255,"museum":20,"description":14207,"tags":14208,"thumbUrl":14209,"material":40,"size":14210,"collection":179,"collections":14211,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},233406,"chun-shan-you-qi-tu-zhou-zhou-chen-233406","春山游骑图轴","此图以传统的春山行旅为题材，描绘高山石崖险峻陡峭，楼阁房舍掩映其间，错落有致。近景山溪岸边春花几树，山溪湍流，小桥流水，主仆一行三人正在过桥。山上苍松浓郁，遒劲多姿。舍后绿树成荫，一派春机昂然的景象。画家在全景式的构图中突出前景，着意表现春山、游骑、桃花、虬松，以此点明题意。\n作品构图繁复而不失明旷，稳健周密，雄中寓秀，密中呈疏；设色清妍秀丽，笔法劲健明秀；人物用细线淡色，笔意流畅，是周臣代表作品之一。本幅山石方折峻嶒，勾皴细密硬朗，松树略为倒挂多杈，斧劈皴挺括，造景雄奇，其艺术风格主要继承了南宋的“院体”画传统，也融合了北宋李成、郭熙的画法。",[24,25,202,114,118,30,63,64,90,61,7,117,35,540,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fc7872baa9dc7316ddebbdb9b0a10e.jpg","纵185.1厘米， 横64厘米",[],{"id":14213,"slug":14214,"title":14215,"dynasty":223,"author":5143,"museum":20,"description":14216,"tags":14217,"thumbUrl":14218,"material":40,"size":14219,"collection":179,"collections":14220,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},233114,"bi-shu-shan-zhuang-tu-zhou-leng-mei-233114","避暑山庄图轴","作者以写实的手法描绘了避暑山庄后苑部分及其四周的崇山峻岭。构图为鸟瞰式，自景区上方向下纵向取景，景致具体而微。设色以青绿着色和浅绛渲染相结合，冷暖色调和谐呼应，成功地营造出山庄静寂清幽的氛围。笔法灵活多变，山石树木或以干笔皴擦，或青绿烘染。建筑物的描绘，作者在传统的工笔界画基础上，又巧妙地吸收了欧洲的透视法，并将二者融合在一起，从而更科学、客观地表现出建筑物的物理结构，同时也加强了画面的纵深感。此图同时是一幅反映康熙时期避暑山庄建筑的图样，对于我们了解避暑山庄的建筑沿革有着重要的图像价值。",[152,24,25,202,28,29,30,62,64,7,36,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d890f29b07ff6e1df7488c12dacbcf7.jpg","纵254.8厘米，横172.5厘米",[],{"id":14222,"slug":14223,"title":14224,"dynasty":223,"author":434,"museum":20,"description":14225,"tags":14226,"thumbUrl":14229,"material":360,"size":14230,"collection":124,"collections":14231,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},233082,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233082","平定苗疆战图册","清朝宫廷内绘制的大量画幅，在清王朝覆灭之前，大部分均藏储于宫中及皇家园林行宫内。其中一部分于咸丰十年（1860）和光绪二十六年（1900），英法联军及八国联军侵华时遭到劫掠，或被毁坏，或流失海外，清亡后亦有少量散佚，而主要部分后来都成为在明、清皇宫基础上建立起来的北京故宫博物院的藏品。现在，清代的宫廷绘画，除了少量分藏于境内外其他一些博物馆外，比较集中地收藏于北京故宫博物院和台北故宫博物院。",[24,25,385,28,29,59,61,30,90,63,62,117,7,1420,14227,14228,1344],"军队","战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb44c58ab354d81ed622cd3e2e54cb07.jpg","纵55.4cm，横90.8cm",[124,44,45],{"id":14233,"slug":14234,"title":14235,"dynasty":133,"author":10132,"museum":167,"description":14236,"tags":14237,"thumbUrl":14238,"material":2012,"size":14239,"collection":179,"collections":14240,"showCount":162,"zanCount":11,"manualWeight":48,"mainColor":128},231336,"chun-shan-qing-ji-tu-yuan-dai-ji-jin-zhi-wu-ma-wan-231336","春山清霁图－元代集锦之五","画中高山层层迭迭突起，林木长长矗立，清溪蜿蜒，渔舟摇摇，山村亭阁，曲径相通，滋润的笔墨，体会出大地草木华兹。款题：“春山清霁（楷书）。至正丙午岁（1366年）春正月望日，马文璧画于书声斋。”丙午（1366年）去黄公望《富春山居》之“庚寅”（1350年）题记，只有满15年之距离。全幅结构皴法，大抵出于元黄公《望富山居图》，如以近景主山峰的造形，远山一列丘陵起伏，近者淡远者浓，与皴法运用，勾线涂抹，几与《富春山居》相同；此“春山”也不尽让人想起同样的画《富春山居》。\n黄公望《富春山居》（无用师卷）山峰树石草木，表现出来的是重视笔趣与墨意，从元人的画迹来了解，黄公望《富春山居》成为一种文人画山水的“典范”。也就是以五代北宋董源、巨然为主的风格传承。从赵孟頫为起点，尔后，另一位吴镇也有充满着“披麻皴”风格的人物。那踵步者足为代表，应是这件马琬《春山清霁》。款题所指：“画于书声斋（行书），”为夏士文之斋居，也是云间夏氏知止堂裔孙。夏士文为夏士良文彦兄弟行。杨维祯至正二十年庚子秋曾为作《书声斋记》。元黄公望《富山居图》款题即书于夏氏“知止堂”。夏氏云间“知止堂”。主人为谁？杨维桢又有《知止堂记》，主人是云间老人夏谦齐氏，取《老子》之经有警人者，曰“知止不殆”的典故，堂有匾是赵孟俯所书。其四叶孙颐贞，在兵火之后，重建。马琬为杨维祯学生，张雨、黄公望均与杨维祯友好。马琬生平也是一位亲炙过黄公望的人物。",[24,25,26,114,118,30,117,7,64,115,62,153,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9a84ff4dd4e7bbd78e820d09fd9b8d.jpg","纵27厘米，横102．5厘米",[],{"id":14242,"slug":14243,"title":3901,"dynasty":223,"author":3550,"museum":459,"description":14244,"tags":14245,"thumbUrl":14246,"material":179,"size":179,"collection":179,"collections":14247,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},228965,"shan-shui-ce-kun-can-228965","淡赭晕开薄暮天色，月色悬于天际晕出朦胧清光，远山隐在烟岚之中，如被夜雾浸得温润朦胧。近林以焦墨挥写，笔意苍劲老辣，繁枝密叶错落有致，将山野草木萧森之态尽显。\n\n蜿蜒山径之上，白衣策杖人缓步行游，为幽密林色添上清寂文人气韵。画作以干湿浓淡的墨色变化，揉合出月夜空山的空濛辽远，静穆萧散的禅意藏在笔底，将夜游林麓的幽闲况味融在烟霞里，淡远悠长的林下之思随月色漫溢开来，清寂悠然直入人心。",[23,24,25,152,114,118,153,30,2316,426,7,61,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8628031461d94722f467f710beefc78.jpg",[],{"id":14249,"slug":14250,"title":14251,"dynasty":54,"author":2132,"museum":459,"description":14252,"tags":14253,"thumbUrl":14254,"material":179,"size":179,"collection":179,"collections":14255,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},228916,"mo-xi-shan-xing-lv-tu-zhang-hong-228916","摹溪山行旅图","此作为雪景山水，以淡墨晕染山石，留白铺就厚雪，尽显冬日山峦清寂素净。层叠岩崖间枯木萧疏，偶有青松点翠，破开雪色单调。山涧水色灰蒙，栈道、板桥连贯幽谷，旅人驱驴缓行，山居茅舍错落山坳，细节生动，将羁旅行路意趣，糅进空阔冷逸冬山之中。\n\n用笔精细秀雅，勾勒皴擦兼具宋画雄浑骨架，又带明人笔墨温润雅致，将冬日深山的荒寒宁静与人间烟火暖意相融，复刻古意又自出机杼，尽显溪山行旅的幽远况味。",[23,24,26,114,118,60,30,1080,63,64,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83c124ad11c5e878f782bec67b93f0a.jpg",[],{"id":14257,"slug":14258,"title":14259,"dynasty":54,"author":55,"museum":266,"description":14260,"tags":14261,"thumbUrl":14262,"material":179,"size":179,"collection":179,"collections":14263,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":49},228440,"bian-qiao-hui-meng-tu-chou-ying-228440","便桥会盟图","画卷起首旌旗列阵，甲士森然，仪帐整肃尽显阵列威仪。烟柳垂杨衔接着迤逦青绿山峦，笔墨晕染出郊野的开阔沉静。转至卷右，层叠山坳间人马错杂，战场的紧绷感在青绿山色间暗涌。\n\n全作用色古雅厚重，赭黄绢底晕开石青石绿，让沉郁的历史氛围感浸透画卷。方寸间人物姿态鲜活分明，人马旌旗、山川林泉排布疏密有致，将盟约前后的张弛节奏暗藏于山水长卷之中，把宏大叙事融于青绿山水的雅致意境，铺展出一段藏在笔墨间的往昔风云。",[23,24,152,26,29,28,27,30,61,90,7,1420,117,14227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d809453efefbe7ab56381e63a8c0a93.jpg",[],{"id":14265,"slug":14266,"title":14267,"dynasty":18,"author":713,"museum":459,"description":14268,"tags":14269,"thumbUrl":14270,"material":179,"size":179,"collection":179,"collections":14271,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":49},227802,"shan-zhuang-du-shu-tu-ye-liu-song-nian-227802","山庄读书图页","山峦叠翠流云轻绕，幽谷飞瀑隐于翠微之间，整幅画以温润青绿晕染出江南山居的清寂雅境。屋舍藏在松竹蕉荫深处，堂中人正展卷静读，周遭林木蓊郁苍润，山石皴法细腻匀净，古雅的青绿设色晕开沉静的宋人意趣。\n\n笔致工稳秀润，将文人幽居林泉的理想铺陈绢素，山野间无车马喧嚣，唯有山光树影伴衬书香。山石草木皆含静气，把宋人内敛雅致融在每一处细节里，让观者仿佛能踏入这方世外山居，共赴林泉书香的闲淡之约。",[23,152,24,25,28,30,29,118,7,117,62,500,37,204,61,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d558e62e4e589222cc081f24c1e325.jpg",[],{"id":14273,"slug":14274,"title":14275,"dynasty":18,"author":550,"museum":459,"description":14276,"tags":14277,"thumbUrl":14278,"material":179,"size":179,"collection":179,"collections":14279,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":49},227767,"gong-dian-hua-yuan-tu-ye-li-tang-227767","宫殿花园图页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,152,24,28,59,61,62,7,117,70,4253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa52bbd47fa75dd0f52917c93d10f58b.jpg",[],{"id":14281,"slug":14282,"title":14283,"dynasty":620,"author":2169,"museum":459,"description":14284,"tags":14285,"thumbUrl":14286,"material":179,"size":179,"collection":179,"collections":14287,"showCount":162,"zanCount":11,"manualWeight":48,"mainColor":128},226713,"huo-lang-tu-ye-li-sheng-226713","货郎图页","这是一幅人物风俗画卷，画面上货郎的货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹场景。画家借助货郎这一题材表现了当时市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了那个时代百姓的生活方式，是民俗学家不可多得的珍贵史料。",[23,152,24,25,2244,29,28,61,2056,175,7,411,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b73176be8077b5a0404118925f2e78.jpg",[],{"id":14289,"slug":14290,"title":14291,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":14292,"thumbUrl":14299,"material":808,"size":809,"collection":3244,"collections":14300,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},225905,"blue-house-in-the-outskirts-of-giverny-mo-nai-225905","Blue House in the Outskirts of Giverny",[7526,14293,14294,9938,14295,3148,7,500,32,5404,411,10864,5815,14296,14297,8072,14298],"点彩","外光写生","蓝色房屋","弯曲河流","朦胧山峦","淡色天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3294145284cb1d8c7332d4ea315245.jpg",[3244],{"id":14302,"slug":14303,"title":14304,"dynasty":223,"author":14305,"museum":459,"description":14306,"tags":14307,"thumbUrl":14308,"material":179,"size":179,"collection":179,"collections":14309,"showCount":162,"zanCount":928,"manualWeight":48,"mainColor":1138},224578,"qing-ke-si-qun-xian-zhu-shou-zhou-qing-ren-224578","清缂丝群仙祝寿轴","清人","云端玄女乘鹤御风而来，松荫之下众仙执笙捧盏，衣袂翩跹顾盼生姿，满含恭谨喜色，似正静待贺寿吉时。下方仙姝俯身采撷芝草灵卉，奇石虬松环伺左右，流云漫卷天际，将海天仙乡的缥缈灵秀铺展尽致。\n\n此作用通经断纬之技晕染衣纹褶皱的柔婉层次，石色苍古明润，松针纤毫毕现，将群仙赴寿的欢愉雅景织就，既见仙班贺寿的祥瑞吉庆，又尽显工致秀雅的匠艺风华，恍将清虚仙境凝于尺幅之中。",[152,24,25,202,566,28,61,30,7,1856,2997,4566,1621,117,156,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87520e9eaeef0cd56b73baacd54137b6.jpg",[],{"id":14311,"slug":14312,"title":2495,"dynasty":223,"author":647,"museum":20,"description":14313,"tags":14314,"thumbUrl":14315,"material":936,"size":7220,"collection":124,"collections":14316,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":49},224389,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-224389","其实王原祁和他的祖父都特别喜欢黄公望的作品，这也是他临摹黄公望作品的原因。 王原祁代笔之作很多，由于他受皇帝赏识，学他风格者上千，成为“娄东派”，此派左右清代三百年画坛，正为正统派，对后世影响极大。清代山水画一蹶不振，这也是一大原因。",[23,152,24,475,60,118,114,28,202,341,342,7,63,35,206,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg",[124],{"id":14318,"slug":14319,"title":14320,"dynasty":223,"author":14321,"museum":56,"description":14322,"tags":14323,"thumbUrl":14324,"material":6016,"size":14325,"collection":1822,"collections":14326,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},222635,"shan-shui-shu-fa-ce-liu-kai-gao-feng-han-222635","山水书法册六开","高凤翰","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,24,25,385,114,28,30,120,118,64,243,7,488,35,2223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6d5643030c40635094436e09839791.jpg","31.8x24.8cm",[1822,124],{"id":14328,"slug":14329,"title":14330,"dynasty":54,"author":55,"museum":1443,"description":14331,"tags":14332,"thumbUrl":14334,"material":14335,"size":14336,"collection":179,"collections":14337,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":49},222212,"yu-di-tu-chou-ying-222212","渔笛图","图上一处波澜不惊的水域，四周群山环抱的幽静之地，有凉厅依山而建，一长者很随意坐于矮桌上，桌上有二本书，神态中若有所思； 远处一位头戴竹笠，吹着笛子悠闲的人坐于船头钓着鱼儿，享受着安然、静谧、自由自在的桃源生活。\n此图为细笔水墨画，近景树丛有四种央叶，和三种不同的点叶法，画面整饬而工细，山石主要以小斧劈皴来表现，用笔尖锐细劲，落笔重而收笔轻，笔致顿挫明显而富有节奏感，是一幅仇英仿制“院体”风格的山水画。仇英的画风，祖述南宋院体的李唐与刘松年，以善偏锋刷掠、勾写精工见长，此作便充分地体现了这一特色。",[23,24,29,28,30,7,35,115,639,64,61,244,34,118,500,14333],"岸边草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81d3432e13e0794a6517f755ac0779.jpg","绢布","113x60cm",[],{"id":14339,"slug":14340,"title":14341,"dynasty":133,"author":5646,"museum":167,"description":14342,"tags":14343,"thumbUrl":14345,"material":316,"size":14346,"collection":124,"collections":14347,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},221791,"shu-song-you-xiu-tu-zhou-cao-zhi-bai-221791","疏松幽岫图轴","描绘平溪远岫，疏林飞瀑，山谷间房舍隐现。近处高松老树疏简错落，枝干虬曲，形态优美。",[23,24,25,202,114,118,30,14344,579,117,7,153],"疏松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ce6cb5c7be500033f0c32f59285ed1.jpg","纵74.5厘米，横27.8厘米",[124,103],{"id":14349,"slug":14350,"title":14351,"dynasty":133,"author":5646,"museum":167,"description":14352,"tags":14353,"thumbUrl":14354,"material":555,"size":14355,"collection":124,"collections":14356,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":49},221787,"shuang-song-tu-zhou-cao-zhi-bai-221787","双松图轴","滨水石坡上两棵虬松，拔地而起，势如参天，背衬以杂树，掩映在烟霭中，渐远渐晦。并立双松，干顶枝条向周围虬蟠伸长，旁配以远水，成无尽景，画成于1329（天历二年），时年曹知白五十八。以松树成为山水画中描摹的一重点，概与元朝整个大环境有关，画家藉事物明志，而松之坚拔，使双松正可作为友情坚贞之象徵\n在元画中这类作品甚夥，如朱德润、唐棣等大家之作。审视诸家之双松，皆可找出从李衎以来，所持有李郭派描写树石的严谨传统。但和诸家笔下略带书法性夸张的松树相较，先生在树形及用笔上，展现了平实的个人风貌。\n画家以直线皴配合鳞皴表现松干皮，并在树身上加上齐列的横点苔，显得工整规律，但伸展曲折诡谲的松枝经营，枝梢回转上仰之姿，和向四面散射细疏的松针，打破了松身的平整。杂树枯枝则取蟹爪笔法，和其晚年七九岁所作《群峰雪霁图》前景三松简淡笔墨对照，此幅用笔显得严整而厚实。",[23,24,25,202,114,118,30,540,117,7,6454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1cce535f431daf2980dd1b72ee3a27.jpg","132.1x57.4公分",[124,103],{"id":14358,"slug":14359,"title":14360,"dynasty":1743,"author":7462,"museum":5177,"description":14361,"tags":14362,"thumbUrl":14363,"material":3867,"size":179,"collection":179,"collections":14364,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},220475,"man-mu-qing-shan-xi-zhao-ming-zhou-li-ke-ran-220475","满目青山夕照明（轴）","此作用巨幅雄山占据画面主体，焦墨勒出山峦筋骨，赭石晕染铺就夕照暖光，将冷硬岩壁晕染出暮色鎏金的温煦。山谷间田埂溪流萦回蜿蜒，深郁林木沉黑如墨，与亮部形成强烈明暗反差，既衬出山岳巍峨厚重的体量感，又暗藏乡野灵动生机。\n以积墨反复皴擦堆叠，让山体兼具苍茫质感与雄浑气势，右上角题笔朴拙苍劲，与画风融为一体，将暮色中山川的沉浑壮美与田园静谧相融，把晚照青山的诗意凝于尺幅之间，尽显沉雄朴厚的山水意趣，藏着对山河暮色的深切眷恋。",[24,25,202,114,28,118,30,7474,2395,64,243,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a6185073b7c5986525e80316eb85c6.jpg",[],{"id":14366,"slug":14367,"title":14368,"dynasty":54,"author":4827,"museum":20,"description":14369,"tags":14370,"thumbUrl":14371,"material":1218,"size":14372,"collection":179,"collections":14373,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":49},220390,"you-song-tu-du-qiong-220390","友松图","此画无款，钤“东原斋”、“杜用嘉”、“一丘一壑”三印。\n后有文伯仁跋，说明为杜琼之作。据张丑《清河书画舫》著录：“东原先生为其姊丈魏友松写号图，当时有题诗，不知何时脱落，尚赖刘完庵长句具存，足称艺林双璧。”又据杜琼文集中有关魏友松的诗文可知，杜琼姊丈魏本成，号友松，魏氏一家都是仕宦文人。",[24,25,26,30,28,29,118,63,64,117,7,540,35,173,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1af06046dc35154b5afb75f3032f83.jpg","纵28.8厘米，横92.5厘米",[],{"id":14375,"slug":14376,"title":14377,"dynasty":18,"author":1816,"museum":4132,"description":14378,"tags":14379,"thumbUrl":14380,"material":78,"size":14381,"collection":44,"collections":14382,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":49},219707,"qi-feng-tu-ma-he-zhi-219707","齐风图","齐襄公是齐僖公长子，他同父异母的妹妹姜文，素有“春秋时期四大美女”之称。见色起意的齐襄公不顾纲常伦理，与妹妹私通。《汉书·地理志》中记载了这段不堪的往事：“始桓公兄襄公淫乱，姑姊妹不嫁。",[23,24,26,25,437,28,29,120,61,62,63,64,68,7,30,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d34fa858564b0e0ce285f95eabcfed.jpg","26.2x65cm",[44],{"id":14384,"slug":14385,"title":14386,"dynasty":133,"author":7139,"museum":167,"description":14387,"tags":14388,"thumbUrl":14389,"material":78,"size":14390,"collection":124,"collections":14391,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},219087,"yun-pu-na-zhou-tu-tang-di-219087","云浦拏舟图","唐棣（1296-1364)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。",[23,24,25,30,114,28,118,115,62,7,500,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe43ec4ea318794216335f5e30a3218.jpg","25.6x31.4",[124],{"id":14393,"slug":14394,"title":14395,"dynasty":223,"author":14396,"museum":514,"description":14397,"tags":14398,"thumbUrl":14400,"material":78,"size":14401,"collection":331,"collections":14402,"showCount":162,"zanCount":928,"manualWeight":48,"mainColor":49},218736,"liu-tang-ji-qin-tu-hu-mei-218736","柳塘集禽图","胡湄","此画描绘了一群禽鸟在柳塘嬉戏的情景。画中几只芦雁或在岸上长鸣，或在水中畅游，或在低空中盘旋，石缝中生长出几棵小树，两只小鸟在枝丫上彼此顾盼。",[23,24,25,152,202,29,114,171,1216,12512,14399,2246,342,1473,7,156,1376],"禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a65963fe55590b859fe37010d4dfd9.jpg","纵211厘米，横100厘米",[331],{"id":14404,"slug":14405,"title":14406,"dynasty":223,"author":647,"museum":20,"description":14407,"tags":14408,"thumbUrl":14409,"material":78,"size":14410,"collection":124,"collections":14411,"showCount":162,"zanCount":48,"manualWeight":48,"mainColor":128},2185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（珂罗版）",[23,24,114,30,118,117,7,1704,116,63,64,119,153,14460],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cc32f6b467d1055b76d9b1b43ef70e.jpg",[],36,{"id":14465,"slug":14466,"title":2075,"dynasty":223,"author":2076,"museum":167,"description":14467,"tags":14468,"thumbUrl":14469,"material":177,"size":5798,"collection":179,"collections":14470,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":49},288829,"fang-yang-da-zhang-song-yuan-ben-jin-ling-tu-juan-feng-ning-288829","杨大章，清代画家，乾隆时期内廷供奉，善画山水、人物，最善画龙。\n\n其代表作品有：乾隆三十六年仿刁光胤写生册，乾隆四十四年仿宋宣和《柳鸦芦雁图》，乾隆五十五年仿陈容《九龙图》，乾隆五十六年仿《宋人金陵图卷》，其作品在市场上极少见到。清史记载「杨大章，亦赋色修洁，可与邹一桂颉颃，花鸟以二人为最工，其善画人物、花卉、翎毛，偶画山水，师法宋人。」说明了他的绘画造诣之高。其擅长水墨花卉，极有重名。常写五色菊，墨花五彩，有清冷隽逸之气。",[23,24,26,28,29,61,91,30,7,5233,788,62,726,64,36,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8fce5ba5993e927b3090298414355.jpg",[],{"id":14472,"slug":14473,"title":14474,"dynasty":18,"author":14475,"museum":459,"description":14476,"tags":14477,"thumbUrl":14478,"material":808,"size":809,"collection":179,"collections":14479,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":49},288735,"xiao-xiang-ba-jing-tu-juan-wu-wang-hong-288735","潇湘八景图卷五","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[152,24,25,26,114,118,30,32,117,7,204,9777,500,37,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339dada0ada5326f09ea7594fb34f379.jpg",[],{"id":14481,"slug":14482,"title":14483,"dynasty":223,"author":14484,"museum":459,"description":14485,"tags":14486,"thumbUrl":14489,"material":808,"size":809,"collection":179,"collections":14490,"showCount":14463,"zanCount":11,"manualWeight":48,"mainColor":128},288062,"long-zhou-jing-du-juan-wang-gai-288062","龙舟竞渡卷","王槩","此卷由三段绘画组成，以江河为主线，渐渐展开端午时节赛龙舟的场面。画面用笔工细，场面宏大。几艘龙舟昂首翘尾，动感十足。船上人小如蚁，但奋力划桨之势尽显。在构图上，运用大片留白表现水天一色和浩渺的江河，给人以开阔的视野。而江中点缀的渔家小船及岸上人们争相观看的情景，又使画卷平添了几许情趣。",[23,24,26,25,114,28,12021,30,64,243,7,1705,61,726,153,120,119,14487,14488],"龙舟竞渡","民俗活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcf549de7dc2fe73f37c130e34dbc58.jpg",[],{"id":14492,"slug":14493,"title":6800,"dynasty":223,"author":2792,"museum":459,"description":6801,"tags":14494,"thumbUrl":14495,"material":179,"size":179,"collection":179,"collections":14496,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":128},237588,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237588",[152,24,25,385,114,28,118,958,30,7,117,64,116,500,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c371ad1b554c4cb74d1d00a8c6b3ead.jpg",[],{"id":14498,"slug":14499,"title":14500,"dynasty":223,"author":2792,"museum":20,"description":6801,"tags":14501,"thumbUrl":14502,"material":936,"size":14503,"collection":124,"collections":14504,"showCount":14463,"zanCount":928,"manualWeight":48,"mainColor":128},236769,"zhu-qu-zhou-wang-hui-236769","竹趣轴",[24,202,114,118,30,1067,206,117,7,1289,500,3755,8206,345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a53edaed5daacf78869c55444abcab9.jpg","纵138.8厘米，横29.9厘米",[124,103],{"id":14506,"slug":14507,"title":1690,"dynasty":54,"author":110,"museum":20,"description":1691,"tags":14508,"thumbUrl":14509,"material":360,"size":1694,"collection":179,"collections":14510,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":128},234085,"wu-zhong-shan-shui-ce-shen-zhou-234085",[24,25,385,114,120,118,30,62,7,63,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff490de890778b4cc3370fad14bbd48de.jpg",[],{"id":14512,"slug":14513,"title":13804,"dynasty":133,"author":14514,"museum":14515,"description":14516,"tags":14517,"thumbUrl":14518,"material":360,"size":14519,"collection":179,"collections":14520,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":128},233767,"jiu-ge-tu-juan-zhang-wo-233767","张渥","吉林省博物院","“九歌”的名称来源很早，据说在夏朝的时候就已经出现了，《离骚》《天问》和《山海经》中都曾经提到过它。《离骚》中说：“奏九歌而舞韶兮”。“韶”，相传是舜帝的舞曲，把它与“九歌”并举，可见都是远古的乐章。而《山海经》则说“九歌”是启（传说中大禹的儿子）从天上偷来的，这便给她添上了神话色彩。现存“九歌”，其实是楚国南部流传已久的一套民间祭神的乐歌，后来经过屈原的加工改写而创造出来一种独特的抒情诗。张渥的这幅画上有屈原的画像，可见他也是根据屈原的《九歌》来创作这幅作品的。\n屈原所作《九歌》是根据民间祀神乐曲加工润色而成的诗章。当时楚国的巫风兴盛，人们的娱乐生活往往和宗教祭祀杂糅在一起，通过所祀之神来表达自己的理想和愿望。屈原《九歌》从内容到风格形式，都保存着南方原始祀神民歌的基本格调，在长期的历史进程中一直闪耀着动人的光辉，并吸引着历代画家们以此为题材进行艺术创作。据传最早绘制《九歌图》的画家是宋代李公麟。元代画家张渥的《九歌图卷》历来被认为是李公麟原作的摹本，这从该画卷后的题款“临李龙眠九歌图”即可看出。 [4] 此图是张渥为好友言思齐（世贤）所作。\n展开画卷，首先映入眼帘的是发髻束起，身着广袖长服，拱手站立的屈原像。他庄重而坚毅、孤独而傲岸、感伤而执著的神韵跃然于纸上，令人感佩动容。在对主人公形象的塑造上，画家运用了以线条勾勒为主的白描手法，用笔苍老润洁，遒逸秀劲，勾勒简练畅意，古拙脱俗，使人物更加生动传神，而且令整幅画面极具一种装饰美。其后以篆书题写《渔父》一篇，这就使读者似乎看到了屈原被放逐后徘徊于江滨那种忧心国事的情怀，不由自主地把屈原的品格同他的《九歌》密切地联系起来。\n紧随屈原像后，作者依据《九歌》原诗的情节逐一绘制出东皇太一、云中君、湘君、湘夫人的形象。画家熟练地运用线条长短、迂回、曲直变化，流畅飞扬，宛似行云流水，人物形象充满了各自的不同神韵。大司命手执拐杖，头上几根洗练的线条和些许淡墨晕染，恰如其分地表现了纱巾透明的质感，其下的发髻隐约可见。衣裤则用比较劲秀而又略有不同的线描画成，使人觉得衣与裤的质料也有所差异。至于面部和双手，用笔更细、更淡、更柔、更富于变化，枯笔画成的须眉成功地表现了它的疏落和蓬松，一副老年人的沧桑感突现出来。少司命左手执笔，右手握卷，慈眉善目，飘浮于祥云之上。左一持杖侍女似正听其嘱咐。东君浓眉大眼，鬓须满脸，手持法器，立于祥云之上。\n在原诗中，东君是人们想象中的太阳神，张渥却捕捉住“举长矢兮射天狼”这一爱憎鲜明的情节，把太阳神和天狼星之间的矛盾冲突集中在一个画面上。太阳神被描绘成一个全副武装、魁梧雄伟的武士，一手持弓，一手握箭，翻身怒视天狼星，须眉怒张，强调了他的勇武；衣带飘拂，加强了动势的表现。天狼星则被画成一个小小圆球，仿佛摇摇欲坠。这种艺术处理充分显现了原诗中那种热爱光明、仇视黑暗的思想感情，比之孙承泽旧藏传李公麟《九歌图》中髭须飘洒、抱弓而立的东君，从思想内容到艺术技巧都增加了新的内容。河伯骑于海龟之上，其衣服帽带的飞扬，波涛的奔涌，把河伯迎风破浪前进的形象淋漓尽致地表现了出来。\n《山鬼》是屈原《九歌》11首诗中最摄人魂魄的一首，它出自楚国一个美丽凄婉的传说，描写一个美丽而幽怨的女神。画卷中的山鬼裸体骑赤豹于松林之中。《国殇》原诗用较多的篇幅描写将士们奋不顾身英勇作战的场面，画家则根据原诗精神，通过一个侧面，充满想象力地进行了生动的描绘：用苍郁的笔法略施渲染，绘成几株参天大树和树下挥戈而前的勇士，铠甲的明亮与树石的阴郁形成了鲜明的对比，从而突出了人物形象。树下走在最前面的人怒目仰视，张口狂呼，仿佛可以听到他叱咤风云的不息喊杀声。在他的身后，无数战士的头在树木的繁枝密叶间攒动。这里，画家的笔墨非常精练，能看到的只有几个被枝叶遮蔽得不完整的头部，但却突出了勇往直前的眼神，成功地运用了构图的掩映和读者的错觉，因而落墨不多却表现了千军万马不可压倒之势。\n《九歌图》人物的塑造特点是形象饱满，个性鲜明。例如，东皇太一是天之尊神。张渥将他塑造为一个王者的形象，高大威严，垂裳冠冕，一手捻须，一手若有所指。与他的高大不同，天女的形象则娇小纤弱，形成对比。又如，大司命是生命之神。张渥将他刻画成一个和蔼的长者，慈眉善目，扶杖驾云而来，全无命运之神的狞厉恐怖。再如，东君为日神。张渥将他描绘成一员武将，披挂整齐，举剑携弓，凝视前方的天狼星。\n《九歌图》不仅对于考订张渥画家的年表、纠正有关记述中的疏误有所裨益，而且为了解张渥的艺术成就提供了一件有价值的资料。\n壬子年为明洪武五年，张渥去世当在此之前。可见自1346年此图创作完成之后至明初的一段时间里，这件作品一直保存在言氏手中。此后《九歌图》在明代的流传情况并不清楚。\n清乾隆时期曾流入内府，画面上铃有乾隆、嘉庆、宣统的印玺多枚。\n清亡后，溥仪令宝熙等审定内府书画时将此卷列为上上，记录在审定内府书画目原稿中。此后，《九歌图》又以赏赐的方式被辗转运往长春的伪皇宫。1945年日本投降后，《九歌图》便一直保存在长春王世宜手中，1971年捐赠吉林省博物馆。",[23,24,25,26,437,61,1855,4537,64,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83685df6eeeedeb07127abdd163834aa.jpg","纵29厘米、横523.5厘米",[],{"id":14522,"slug":14523,"title":6317,"dynasty":18,"author":1865,"museum":20,"description":14524,"tags":14525,"thumbUrl":14529,"material":936,"size":6322,"collection":179,"collections":14530,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":128},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[24,25,26,114,30,881,7,153,119,118,228,6803,500,674,37,243,8441,14526,912,1430,14527,14528],"墨笔","米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg",[],{"id":14532,"slug":14533,"title":14534,"dynasty":133,"author":2527,"museum":459,"description":14535,"tags":14536,"thumbUrl":14537,"material":360,"size":14538,"collection":179,"collections":14539,"showCount":14463,"zanCount":928,"manualWeight":48,"mainColor":128},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","大雪已过，而西安的雪却迟迟没有落下，这让人不仅怀念起昔日纷纷扬扬的大雪来，只能将这份念想寄托于中国山水画中。\n据中国美术史记载，在中国山水画史上，最早描绘雪景题材的是唐代画家、诗人王维。据《宣和画谱》记载，在宋代御府收藏王维画作的126件中，其中山水画目以雪景为多，共计20件，隐逸题材10余件，所以王维被尊为中国雪景山水画的“开山老祖”。而长久以来，一幅名为王维的《江山雪霁图》却一直饱受争议，这又是缘何呢？\n雪后初霁的世界一尘不染，而中国画又善于抒情达意，常将主观感情融于创作，又以象征手法描绘物象，而雪景入画正是随物赋形，将人心的细微转折处以蕴藉不露的方式表达出来，意境高远。王维（701年－761年），字摩诘，号摩诘居士，今山西运城人。王维性喜山水，诗画双绝，且精通音律和佛经，是唐朝著名的诗人和画家。苏轼评价其“诗中有画，画中有诗。”据说，安史之乱时王维被叛贼所俘，安史之乱平定后，唐肃宗不但没加罪还授官于他。王维便作雪景山水画，以表明自己身心如雪色洁白，如《雪中芭蕉》《雪溪图》等，都是其传世之作。\n王维画雪开创了中国山水画之先河，被明末著名书画家董其昌推崇为南宗山水画之祖。提出《江山雪霁图》的便是董其昌。董其昌自述从著名的鉴藏家、文学家冯梦祯（字开之，1548—1605）处，探得王维的《江山雪霁图》，并先后两次为其写跋文，引起一时轰动。近代，传出日本京都小川家收藏了《江山霁雪图》。图为一幅高28.4厘米、宽171.5厘米的水墨绢画，画法纯用勾勒，不加点苔，也无皴染。画中自右至左，在岩石、远峰、小山、浅屿之间，江流缭绕、水远天平，白头山上雪意茫茫。右下角岩石上有枯树六、七株，稍上双峰并峙，林木森森。中偏右矗立一巨大岩石，顶露平台，前护低栏、后倚竹树，茅舍三五散落其间；其左下方平出浅屿，有枯树八、九株，极见疏落之致。左半部一抹小山，略见起伏，山腰水际有小树隐匿其中；紧接浅屿，横扼中流，向左延伸，略近边缘，画面即止于此。",[23,152,24,25,26,60,114,118,30,341,37,64,7,32,3817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","41x278.3厘米",[],{"id":14541,"slug":14542,"title":3901,"dynasty":223,"author":11534,"museum":459,"description":14543,"tags":14544,"thumbUrl":14545,"material":179,"size":179,"collection":179,"collections":14546,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":128},230115,"shan-shui-ce-jian-jiang-230115","这幅以渴笔淡墨绘就的山水，清劲冷逸。山石仅以疏朗线条勾勒轮廓，略施苔点，便将丘壑的清峭风骨尽数托出。留白代水，不着一笔却尽显秋江空茫之意。\n\n坡上矮屋孑然，旁立两株枯木，枝桠疏疏落落，和远山细树遥遥相对。整幅画删尽冗杂，以极简笔墨撑起满幅萧疏空寂，角落朱印如空山余温，更衬出天地静穆。于淡远简净之中藏着苍润深秀，将人带入空山无人、水流无息的幽寂禅境。",[24,25,385,114,118,30,35,7,117,1300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1421d5380835cb3a6b3385be97e94568.jpg",[],{"id":14548,"slug":14549,"title":14550,"dynasty":54,"author":5967,"museum":459,"description":14551,"tags":14552,"thumbUrl":14554,"material":179,"size":179,"collection":179,"collections":14555,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":49},228749,"wu-xia-yun-tao-tu-xie-shi-chen-228749","巫峡云涛图","此作用全景式铺陈，以苍劲斧劈皴勾勒危崖峻岭，古木虬枝错落，丹黄枝叶点缀出清秋意趣。云气以淡墨晕染留白，将层峦半遮半掩，恍若仙境浮空。下方急流曲回，浪纹细密写实，孤舟搏浪于波谷峰尖，既尽显巫峡水势之汹涌诡谲，也暗透出旅人穿险的惶然张力。画作兼融北派山水的雄浑与南派的秀润，笔力厚重苍莽，墨色层次丰盈，将山川云涛的磅礴瑰奇与行旅意趣相融，绘就出巫峡吞吐云波的壮绝天地。",[23,24,25,202,114,28,118,30,14553,115,7,204,117,37],"云涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51511415c782138d8297a287b8d354.jpg",[],{"id":14557,"slug":14558,"title":14559,"dynasty":54,"author":55,"museum":459,"description":14560,"tags":14561,"thumbUrl":14562,"material":179,"size":179,"collection":179,"collections":14563,"showCount":14463,"zanCount":11,"manualWeight":48,"mainColor":49},228444,"da-jin-de-yun-tu-juan-chou-ying-228444","大金德运图卷","此作用浓妍石青石绿晕染群峰，峭拔清奇的山峦错落于烟波间，淡赭晕开云霞，铺就幽渺辽远的天地格局。山坳水畔，村舍错落、人马往来，或驱马穿行山道，或聚居于林田之侧，烟火气浸透仙山灵境，尽显太平聚落的悠然意趣。\n\n书画合璧尽显古韵，青绿设色承袭唐宋古意，又以细腻人物村景铺陈，将恢弘山水与俗世温情融于一卷，既有大青绿的堂皇瑰丽，又暗含市井闲趣，是工笔青绿中兼具叙事性与观赏性的精妙之作。",[23,24,26,29,28,27,30,61,90,63,64,7,117,37,118,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e63b6572fbf6fb41c1a558ac53c9e9.jpg",[],{"id":14565,"slug":14566,"title":3166,"dynasty":18,"author":2052,"museum":459,"description":14567,"tags":14568,"thumbUrl":14570,"material":179,"size":179,"collection":179,"collections":14571,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":128},227736,"shi-dan-ying-xi-tu-li-song-227736","《市担婴戏图》是宋代画家李嵩创作的一幅绢本浅设色画，现藏于台北故宫博物院。此画描绘老货郎担着琳琅满目的百货，妇女、孩童蜂拥而来的情景。",[24,25,2895,29,437,28,61,3169,14569,7,5147,175,7155],"市担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ae9504a8080a71cacabd3b44df2120.jpg",[],{"id":14573,"slug":14574,"title":14575,"dynasty":18,"author":1865,"museum":459,"description":14576,"tags":14577,"thumbUrl":14578,"material":179,"size":179,"collection":179,"collections":14579,"showCount":14463,"zanCount":928,"manualWeight":48,"mainColor":128},227705,"mi-you-ren-si-ma-huai-shan-shui-he-juan-mi-you-ren-227705","米友仁司马槐山水合卷","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[23,24,25,26,114,118,119,153,30,7,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2f43864087629e2b88a87765eedeee.jpg",[],{"id":14581,"slug":14582,"title":14583,"dynasty":990,"author":434,"museum":5990,"description":11274,"tags":14584,"thumbUrl":14587,"material":808,"size":809,"collection":179,"collections":14588,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":49},226428,"ku-zhu-shi-nan-bi-yi-ming-226428","窟主室南壁",[3402,923,28,61,14585,7,14586],"飞天","华盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08777adc12a281b4f272525453b21ba4.jpg",[],{"id":14590,"slug":14591,"title":14592,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":14593,"thumbUrl":14596,"material":808,"size":809,"collection":3244,"collections":14597,"showCount":14463,"zanCount":928,"manualWeight":48,"mainColor":49},225930,"flowers-at-vetheuil-1880-mo-nai-225930","Flowers at Vetheuil, 1880",[7526,3239,7527,14594,9096,2335,2999,2725,7,32,1290,35,10874,1191,8254,8253,14595],"色彩丰富","水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d1346f087a032be70d9ec8d35c5427.jpg",[3244],{"id":14599,"slug":14600,"title":14601,"dynasty":223,"author":1998,"museum":459,"description":14602,"tags":14603,"thumbUrl":14604,"material":179,"size":179,"collection":179,"collections":14605,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":49},224598,"han-gong-qiu-yue-li-zhou-yuan-yao-224598","汉宫秋月立轴","淡月斜悬于青灰长空，清辉将整座宫苑晕在朦胧夜雾中。苍劲古柏撑着如墨浓荫，半掩着朱檐碧瓦的楼宇，界画工细，飞檐斗拱分毫毕现，却又以晕染柔去硬挺棱角，消解了皇家楼宇的威仪。\n\n栏边宫人身姿温婉，私语间衣袂轻垂，在空寂御苑里点出幽淡怅惘。冷调底色铺陈出浸骨清寂，将深宫秋夜里的孤萧闲愁藏在细腻笔触间，静穆氛围漫溢出无声寂寥，把夜色宫苑的含蓄怅然铺陈得余韵悠长。",[23,24,152,202,59,28,62,399,7,61,2316,70,173,9360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0deb19622ffb85f1b15aed262c25fd1.jpg",[],{"id":14607,"slug":14608,"title":2825,"dynasty":18,"author":434,"museum":20,"description":14609,"tags":14610,"thumbUrl":14611,"material":415,"size":14612,"collection":179,"collections":14613,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":49},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[152,24,25,26,60,437,28,29,61,1124,30,62,156,89,5272,2223,7,244,64,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],{"id":14615,"slug":14616,"title":14617,"dynasty":133,"author":434,"museum":658,"description":14618,"tags":14619,"thumbUrl":14621,"material":14622,"size":14623,"collection":124,"collections":14624,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":49},223461,"shan-xi-shui-mo-tu-yi-ming-223461","山溪水磨图","《民物熙乐图轴》又名《山溪水磨图》，描绘了山水、楼阁、盘车，山石画法受北宋风格影响，画法写实，界画整饬，人物生动，富于浓郁的生活气息。画面上无题款及收藏印记，也未见画史著录，有印章数枚，但是模糊难辨，系20世纪50年代初辽宁省博博物馆从民间收购获藏。曾经有人认为是明代作品，从画风看应为元人所作，后来鉴定为元人真迹，是一幅带有界画特点的典型的民间风俗画，可以使我们了解到宋元风俗画、界画的面貌。",[23,24,25,28,30,59,29,62,64,117,7,61,91,14620],"水磨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3136e54ffa0e16bac85bd2b82cc151b.jpg","绢本淡设色，立轴","纵153.5厘米，横94.3厘米",[124,103],{"id":14626,"slug":14627,"title":14628,"dynasty":223,"author":858,"museum":514,"description":859,"tags":14629,"thumbUrl":14630,"material":140,"size":869,"collection":179,"collections":14631,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":128},223077,"hong-lou-meng-63-sun-wen-223077","红楼梦63",[23,29,28,59,61,62,117,7,269,70,2079,624,64,30,5011],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6287c52639c4ee11c3285d5cf2df0f6d.jpg",[],{"id":14633,"slug":14634,"title":14635,"dynasty":223,"author":858,"museum":514,"description":859,"tags":14636,"thumbUrl":14641,"material":140,"size":869,"collection":179,"collections":14642,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":1138},223066,"hong-lou-meng-52-sun-wen-223066","红楼梦52",[23,24,25,29,28,59,61,170,62,7,173,70,175,13005,1344,174,689,14637,14638,8941,6118,14639,14640],"瓶","罐","室内","室外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6e4bfd16dd262ed724295b75a151d0.jpg",[],{"id":14644,"slug":14645,"title":14646,"dynasty":223,"author":858,"museum":514,"description":859,"tags":14647,"thumbUrl":14649,"material":140,"size":869,"collection":179,"collections":14650,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":128},223055,"hong-lou-meng-180-sun-wen-223055","红楼梦180",[23,29,28,59,61,62,116,2193,5146,2246,173,7,14648,689,1524,5787,10988,70,11308],"圆形窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f50c00b41d18bf698643e1b41df6987.jpg",[],{"id":14652,"slug":14653,"title":14654,"dynasty":133,"author":7593,"museum":167,"description":14655,"tags":14656,"thumbUrl":14657,"material":28,"size":14658,"collection":124,"collections":14659,"showCount":14463,"zanCount":11,"manualWeight":48,"mainColor":49},221860,"jiang-shan-fang-ting-tu-zhou-zhao-yong-221860","江山放艇图轴","村屋几家，散置在坡旁石侧，远处烟岚横隔了高峻的山岭。在飘渺的山脚，一道溪泉缓流而来。溪面上，有人乘舟悠游，一种清逸之气，浮动在朴实而宁静的画面里。明董其昌认为这幅画是赵雍的真迹。",[23,24,475,152,202,118,28,30,115,7,117,64,35,540,34,243,13075,2421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd740c6e19802a334b71ce2b65171c6ec.jpg","该幅 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107公分",[124,103],{"id":14661,"slug":14662,"title":14663,"dynasty":18,"author":7149,"museum":3752,"description":14664,"tags":14665,"thumbUrl":14667,"material":140,"size":14668,"collection":179,"collections":14669,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":49},221614,"xue-shan-xing-lv-tuan-shan-liang-kai-221614","雪山行旅团扇","画面以大雪覆盖的高山为背景，绘有一位在酷冬严寒之中骑驴的旅人，与南宋马远、夏珪风大量使用留白、仅表现出自然一角的山水画不同，这幅画出色地表现出大自然的博大精深。画面中相对于大雪山显得细微渺小的骑驴人物的精细表现、以及雁群飞过山等画面的各个角落都展现了梁楷的精妙笔法，如实地体现了梁楷作为山水画家的不凡功力。",[23,152,24,2895,114,30,747,90,117,994,61,205,7,818,14666,118],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6642a6a7959b2fdb36f7e5b0ea9b676.jpg","24.3x25.7厘米",[],{"id":14671,"slug":14672,"title":14673,"dynasty":54,"author":9142,"museum":2458,"description":14674,"tags":14675,"thumbUrl":14676,"material":78,"size":14677,"collection":124,"collections":14678,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":49},220146,"shan-ting-tu-li-zai-220146","山亭图","李在，明代宫廷画师，字以政，福建莆田人，迁居云南，后召入京。宣德时与戴进、谢环、石锐、周文靖同待诏入直仁智殿。自戴进以下一人而已。其山水细润处近郭熙，豪放处宗马、夏，多摹仿古人，笔气生动。《闽画史稿》谓其：“其人物笔致苍古，八面生动，开闽派之先。”日本画僧雪舟，曾与之切磋画艺。传世作品有《琴高乘鲁图》《阔渚晴峰图》《归去来兮图》《山亭图》等。",[23,24,25,30,202,114,118,116,63,117,35,579,1044,7,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35489b0dded68401fc6628330b040d8f.jpg","124.9cm×59.4cm",[124],{"id":14680,"slug":14681,"title":14682,"dynasty":133,"author":355,"museum":423,"description":14683,"tags":14684,"thumbUrl":14686,"material":122,"size":14687,"collection":124,"collections":14688,"showCount":14463,"zanCount":11,"manualWeight":48,"mainColor":128},220091,"zhi-lan-shi-tu-wang-meng-220091","芝兰室图","王蒙《芝兰室图》是为杭州净慈寺古林昌公所作。卷首绘秃山怪石，重岩飞瀑。山石不着树木，仅有数丛荒草于风中摇曳。过瀑布，有茅屋数椽，为古林和尚之芝兰室。芝兰室庭院临水，岸边遍植兰与芝;庭院前厅供奉佛像，左右置椅，内置芝兰数盆;厅外长松入云，枝苍叶翠。松荫之下，僧儒席地而坐，听泉论道。小童手捧芝草侍立身后。图左绘山崖壁立，各色杂树遮天蔽日，曲折的小径掩映其间。卷尾绘岩穴临径，岩穴中三僧一儒相谈甚欢，石径之上，侍者穿梭。\n《芝兰室图》卷首篆题有“宝石泉壑，芝兰室图”八字，卷中所绘飞瀑流泉、松风万壑。宝石山位于西湖北里湖之北岸，山体属火成岩中的流岩和凝灰岩，含氧化铁而呈赭红色。在日光的映照下，满山流霞缤纷，熠熠闪光如宝石一般。王蒙绘制此卷亦以写生法为之，山石略施淡赭石红以应，正所谓“随类赋彩”。",[23,152,24,25,26,114,28,118,30,62,289,116,579,14685,204,117,7,153,119,120,438],"古林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b969ba820d4e2d7d9f47016d1cf0529.jpg","画心：25×103 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cm.",[124],{"id":14690,"slug":14691,"title":14692,"dynasty":223,"author":2792,"museum":2805,"description":14693,"tags":14694,"thumbUrl":14695,"material":78,"size":14696,"collection":124,"collections":14697,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":49},219847,"guan-e-tu-wang-hui-219847","观鹅图","此作用笔秀润，以高远山居搭配平远水色，远山巍峨苍浑，飞泉隐于云壑林麓间，清寂辽远。临水楼阁中，文士凭栏远眺，溪上白鹅悠游浮掠，浅滩处侍童持物静立。\n\n皴擦松柔，晕染淡净，林木苍古秀雅，亭台简雅空灵，取景错落舒展，将林泉幽居的闲逸雅致铺陈开来，尽显观鹅寄怀的隐逸雅兴，淡墨轻岚间浸透着静穆萧散的文人意趣，简淡中见隽永悠远的林下之风。",[24,202,114,118,28,30,61,116,156,7,117,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4100c5e85a00f55e5bd56e3b266434.jpg","130.5x39.4cm",[124],{"id":14699,"slug":14700,"title":14701,"dynasty":223,"author":14702,"museum":382,"description":14703,"tags":14704,"thumbUrl":14706,"material":78,"size":179,"collection":124,"collections":14707,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":49},219809,"ping-sha-luo-yan-yun-qiao-zhu-ren-219809","平沙落雁","云樵主人","此作用淡墨晕染出平远空阔的秋江暮色，远岸沙洲隐现于昏黄霭气之中，雁群点点掠过长空，次第栖落平沙，将秋日暮景的清寂铺展开来。近景枯木萧疏，残叶缀于寒枝，幽人策蹇徐行于林畔，更添幽闲野趣。\n\n笔墨简淡清逸，以浅赭铺就暮色底色，淡墨勾绘水岸枯槎，不着浓艳色彩，却将平沙落雁的清远意境渲染尽致。题诗与画面相映，把霜天暮景的荒寒淡远，和林泉高致的澹泊闲静相融，观之如闻晚雁轻鸣，似觉江风掠沙，尽显文人寄情林泉的幽寂意趣。",[24,28,30,156,579,994,14705,153,120,7],"沙地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a02bdb4ff53f238c50f9692217fd07f.jpg",[124],{"id":14709,"slug":14710,"title":14711,"dynasty":54,"author":14712,"museum":167,"description":14713,"tags":14714,"thumbUrl":14715,"material":78,"size":14716,"collection":124,"collections":14717,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":49},219514,"bi-wu-jiang-shu-tu-song-mao-jin-219514","碧梧降暑图","宋懋晋","此作用高远兼平远之法铺陈景致，上部山峦以轻淡墨色晕染，肌理温润朦胧，似有夏山蒸腾的暑气轻笼。画面下畔的庭院为眼目所在，两株青梧亭亭如盖，将浓荫覆入院中，屋中幽人闲坐，静纳竹风凉意。溪上木桥轻架，垂柳拂过水面，坡岸细草茸茸，处处漫着夏日慵闲松弛的意趣。\n\n全画笔秀色雅，浅淡设色衬出清和氛围，将文人幽居消暑、耽于林泉的隐逸襟怀，融于山川院宇之间，淡而有神，静中生韵，尽显山居消暑的雅逸情致。",[24,25,202,28,30,118,63,64,7,35,117,1665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e2ed619f72ec4ecb79001d077b24f1.jpg","124x38.4厘米",[124],{"id":14719,"slug":14720,"title":14721,"dynasty":54,"author":5967,"museum":167,"description":14722,"tags":14723,"thumbUrl":14724,"material":78,"size":14725,"collection":124,"collections":14726,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":49},219475,"bin-feng-tu-xie-shi-chen-219475","豳风图","豳，一作邠，国名。在岐山之北，原隰之野，周先世公刘立国于此。成王立，周公摄政。作豳风七月之诗一篇，述后稷公刘政教之始。述其政教之中，则为豳雅。述其政教之成，则为豳颂，以戒成王。",[24,25,202,114,118,153,30,61,62,63,7,64,116,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476c65952113e072f06deae20e1e7a3a.jpg","196.6x109厘米",[124],{"id":14728,"slug":14729,"title":14730,"dynasty":18,"author":434,"museum":167,"description":14731,"tags":14732,"thumbUrl":14734,"material":78,"size":14735,"collection":42,"collections":14736,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":128},218842,"song-yin-fang-dao-tu-yi-ming-218842","松荫访道图","这幅画描绘了一位国王和一位王子向一位僧人请教冥想的情景，并将人物放在一条阴松溪的岸边，溪上有一座石桥，暗示渡口可以到达彼岸。这幅画与刘松年的画派相似，是山水画中人物团扇的典范。",[23,24,28,29,118,14733,761,61,117,7,5370],"团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fd283639ef962c56bc157245007996.jpg","22.5x24.8",[42],{"id":14738,"slug":14739,"title":14740,"dynasty":223,"author":1454,"museum":167,"description":14741,"tags":14742,"thumbUrl":14743,"material":78,"size":14744,"collection":124,"collections":14745,"showCount":14463,"zanCount":928,"manualWeight":48,"mainColor":128},218723,"fang-zhao-qian-li-jiu-cheng-gong-tu-sun-hu-218723","仿赵千里九成宫图","这幅画描绘的是一座高大的宫殿，人物众多，尺寸不大，是清朝宫廷画家孙祜和丁观的作品，赵伯驹的原作还在，相比之下，孙祜的画一定是再创作，精度极高。",[24,25,152,202,5957,59,29,28,30,62,399,117,7,61,70,1044,69,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdff0e72c31b9ba871ad9ac21069156.jpg","43.4×42.3cm",[124],{"id":14747,"slug":14748,"title":14749,"dynasty":54,"author":14750,"museum":2805,"description":14751,"tags":14752,"thumbUrl":14753,"material":140,"size":14754,"collection":44,"collections":14755,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":128},218411,"mao-nv-tu-sun-jue-218411","毛女图","孙珏","松枝苍劲盘桓，草木葱茏点缀，扇面间铺展一方清幽天地。数人衣袂轻扬，姿态闲雅，或低语浅笑，或凭杖伫立，仙逸之态尽显。笔墨细腻处，衣纹流转如行云，树石皴擦见古意；设色淡雅，晕染自然，更添悠远之韵。画面虽咫尺，却藏山林之静谧、人物之超然，似将尘嚣隔绝在外，只留一份清宁与古雅，引人沉醉于这方隐逸仙境之中。",[23,24,25,2895,28,29,61,7,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F863ccaf21cf3e252db5ff5928ee8576e.jpg","25.1x23.5",[44],{"id":14757,"slug":14758,"title":14759,"dynasty":54,"author":801,"museum":20,"description":14760,"tags":14761,"thumbUrl":14762,"material":303,"size":14763,"collection":103,"collections":14764,"showCount":14463,"zanCount":48,"manualWeight":48,"mainColor":128},218405,"wang-gong-bai-xiang-tu-tang-yin-218405","王公拜相图","这幅画表现的是王鏊上山做官，是唐寅作为弟子画的，所以画得很用心。王鏊在1506年左右来到宫廷，当时唐寅36岁，其画风，山石树木如李唐，人物如李公麟，无疑是真迹。",[23,24,25,26,114,28,29,118,119,120,153,61,30,62,7,117,116,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc31d64915532e56e517bdba4db86340f.jpg","73.5x20",[103],{"id":14766,"slug":14767,"title":14721,"dynasty":133,"author":14768,"museum":14769,"description":14770,"tags":14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，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":14852,"slug":14853,"title":14854,"dynasty":133,"author":5718,"museum":459,"description":14855,"tags":14856,"thumbUrl":14857,"material":360,"size":14858,"collection":179,"collections":14859,"showCount":14791,"zanCount":48,"manualWeight":48,"mainColor":49},232903,"shi-lei-wen-dao-tu-juan-qian-xuan-232903","石勒问道图卷","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,24,25,26,28,29,61,7,1665,117,153,923],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07e96d6b7370b4a6dd7401122337fd33.jpg","28.6x138.5厘米",[],{"id":14861,"slug":14862,"title":12931,"dynasty":18,"author":4856,"museum":459,"description":13560,"tags":14863,"thumbUrl":14864,"material":140,"size":14865,"collection":179,"collections":14866,"showCount":14791,"zanCount":48,"manualWeight":48,"mainColor":49},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877",[23,4253,24,25,26,27,28,29,118,30,243,7,994,540,62,116,63,64,61,90,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":14868,"slug":14869,"title":14870,"dynasty":223,"author":4307,"museum":167,"description":14871,"tags":14872,"thumbUrl":14873,"material":179,"size":179,"collection":124,"collections":14874,"showCount":14791,"zanCount":48,"manualWeight":48,"mainColor":128},232797,"yu-bi-shi-jing-quan-tu-shu-hua-he-bi-tu-ce-qian-long-232797","御笔诗经全图书画合璧图册","乾隆四年暮春至十年季夏，乾隆皇帝与词臣陆续书写《诗经》三百零五篇，并补「笙诗」六篇，凡三百一十一篇，同时敕画院诸臣规抚宋人马和毛诗图笔意，完成前所未有的《御笔诗经泉图书画合璧》三十册，此书画册今藏台北故宫博物院图书文献处善本书库。\n乾隆此举当然具有政教宣示作用，但与宋高宗的立场绝不相同，因为国势盛衰相去甚远，故乾隆不免要嘲讽宋高宗「徒以西湖为销金窠」，根本不懂什麼叫做「诗」。不过，马和之高妙的笔意，不也是驱使盛清气势下的乾隆想完成此一巨擘的动力？因此，他御令画院诸臣，将旧有的临摹，已缺的补绘，完成《御笔诗经全图书画合璧》三十大册。此从文献资料的角度来看，确实提供了马和之图绘《毛诗》的一个轮廓，让我们得以配合当年同一时间内所编纂的《石渠宝笈》，去思索当时的内府究竟存有多少马和之所绘的《毛诗图》？而与今日所存的作品之间又有何种差异？同时，从诗经图的发展驶来看，乾隆朝的《御笔诗经图》虽然创意不很高，倒是以一个完整的姿态，为诗经图的历史画下一个美好的句点。\n故本论文主要论述有两方面：一是考察整个诗经图的发展历史，而马和之可说是其中最重要的一位。在他之前，只有文献上的记载；在他之後，又以临摹为多。虽然如此，随著时代的演变，许多以《诗经》为题材的画作，已渐与诗义脱离，而彰显著不同时代的文化情境，直到乾隆，其雄心壮志，反而使诗经图回归到诗义的本身，虽然所掌握的诗义和马和之有所不同，到底还是以马画为依归。其次，《御笔诗经图》既从现存的马画和文献资料中获得一些讯息，从而想像那些已不知所踪的画作是何等面貌。",[23,24,25,385,437,114,3586,119,30,61,116,7,289,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec80eb8579f58c3fe32a317b0d4e306.jpg",[124],{"id":14876,"slug":14877,"title":14878,"dynasty":223,"author":784,"museum":459,"description":14879,"tags":14880,"thumbUrl":14881,"material":179,"size":179,"collection":179,"collections":14882,"showCount":14791,"zanCount":928,"manualWeight":48,"mainColor":128},230246,"jing-shi-sheng-chun-shi-yi-tu-xu-yang-230246","京师生春诗意图","《京师生春诗意图》是清代画家 于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[23,24,25,26,59,28,29,61,62,30,7,75,9757,1458,11544,399,488,71,70,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],{"id":14884,"slug":14885,"title":471,"dynasty":54,"author":14886,"museum":459,"description":14887,"tags":14888,"thumbUrl":14889,"material":179,"size":179,"collection":179,"collections":14890,"showCount":14791,"zanCount":48,"manualWeight":48,"mainColor":49},228739,"xian-shan-lou-ge-tu-li-shi-da-228739","李世达","这幅画作以古雅青绿晕染山峦，层叠峰岫苍劲灵动，云雾漫过山坳林麓，将整座仙山晕染出空濛虚灵的缥缈意境。林麓间隐着幽致楼阁，烂漫桃林遍植溪谷，白衣雅士或驻足晤谈，或循溪漫游，将山居雅逸尽显。画面以细腻皴法写就山石肌理，青绿设色厚重沉静，糅合出世外仙源的悠然意趣，将文人心中的桃源之境具象铺展，尽显仙逸雅致的古典山水审美意韵。",[23,24,25,27,28,29,118,30,62,61,7,117,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580ee793cdf2d67b3c1bf37812f2920f.jpg",[],{"id":14892,"slug":14893,"title":4170,"dynasty":133,"author":355,"museum":459,"description":14894,"tags":14895,"thumbUrl":14896,"material":179,"size":179,"collection":179,"collections":14897,"showCount":14791,"zanCount":48,"manualWeight":48,"mainColor":49},228084,"xi-shan-qiu-se-tu-juan-wang-meng-228084","此作为全景山水，层峦叠嶂逶迤铺展，林木蓊郁繁密，尽显苍润秀雅的笔墨意致。山居茅舍错落嵌于岩岫林泉之间，野水回环，渔隐泛棹，将秋日溪山清寂又温雅的意趣铺陈开来。\n\n画面以繁密皴法写山石肌理，苔点错落，把秋山厚重朴拙的质感细细勾勒，隐逸悠游的文人林下之趣融于烟岚丘壑。后接诸家题跋，诗画相映，笔墨文心共生，尽显幽淡的文人风骨。",[23,24,25,26,30,118,28,7,117,206,2869,676,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e2c899842d74a718116e60d41448c9.jpg",[],{"id":14899,"slug":14900,"title":14901,"dynasty":133,"author":4150,"museum":459,"description":14902,"tags":14903,"thumbUrl":14904,"material":179,"size":179,"collection":179,"collections":14905,"showCount":14791,"zanCount":48,"manualWeight":48,"mainColor":49},228051,"da-ming-gong-tu-juan-wang-zhen-peng-228051","大明宫图卷","图绘楼台魏巍，湖水环绕，拱桥横跨，一巨大的龙舟领衔，众多小龙舟奋力竞渡夺标的生动情景。\n场面宏大壮观，人、船众多，旌旗招展，鼓乐齐奏，一片观乐紧张气氛。\n全画用笔工整严谨，楼台、龙舟俯仰曲折，细入毫端，人物虽小，然各尽其态，引人入胜。\n【名称】元王振鹏金明夺锦图卷 【规格】该幅 2.124.1公分；隔水一 1.公分；隔水二 1.7公分 【收藏】 主题与关键字：春景、名胜、龙舟、宫殿、桥、池水、奇石、官员（臣）、侍从（侍女、童仆）、百姓、表演者、杂耍艺人、松、竹、杨柳、柏、庭院、栏杆、鸟笼、旗、秋千 录入：石渠宝笈初编（养心殿），下册，15页；故宫书画录（卷八），第四册，8页；故宫书画图录，第十七册，211-214页。\n王振鹏：元永嘉（今浙江温州）人。\n官至漕运千户。\n界画极工致，仁宗眷爱之，赐号孤云处士。\n运笔和墨，豪分缕析，左右高下，俯仰曲折，方员平直，曲尽其体，而神气飞动，不为法拘。\n虽入纤细，而格力超腾，非院中人所能。\n元季界画可为第一，不在郭恕先之下， 、 辈殆不如也。\n尝为大明宫图、金明池夺标图、大安阁图、水亭图等，世称绝品。",[23,24,152,26,59,437,62,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c596cd513646736bb7dfa23a00cbc29.jpg",[],{"id":14907,"slug":14908,"title":14909,"dynasty":18,"author":312,"museum":459,"description":6499,"tags":14910,"thumbUrl":14911,"material":179,"size":179,"collection":179,"collections":14912,"showCount":14791,"zanCount":928,"manualWeight":48,"mainColor":49},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)",[152,24,25,26,114,118,30,31,32,7,115,34,3817,244,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],{"id":14914,"slug":14915,"title":14916,"dynasty":18,"author":713,"museum":459,"description":14917,"tags":14918,"thumbUrl":14919,"material":179,"size":179,"collection":179,"collections":14920,"showCount":14791,"zanCount":928,"manualWeight":48,"mainColor":49},227752,"xi-shan-xue-yi-tu-juan-liu-song-nian-227752","溪山雪意图卷","此画因卷首宋理宗（1225-64 年 1225-64 年在位）题词，曾为十一世纪初皇家画院画家高克明之手。 然而，这幅画的风格令人信服地处理对角线后退，使用李唐（约1070-约1150）的“斧头”纹理笔触，以及在被侵蚀的河岸上广泛的水墨画， 表示十二世纪晚期的日期。",[23,24,25,26,30,29,114,118,341,342,7,289,579,64,35,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":14922,"slug":14923,"title":14924,"dynasty":223,"author":381,"museum":459,"description":14925,"tags":14926,"thumbUrl":14927,"material":179,"size":179,"collection":179,"collections":14928,"showCount":14791,"zanCount":11,"manualWeight":48,"mainColor":1138},224513,"shan-shui-tu-ce-8-kai-3-shi-tao-224513","山水图册8开-3","此作用笔纵逸朴拙，以淡赭晕染坡石，浓墨点染林木，皴擦间写出山岩苍浑肌理，远近层次随墨色虚实铺陈开来。近景村居隐于松荫之下，谷间蹊径蜿蜒向林壑深处，远景峰峦裹挟空濛岚气，将山野幽寂尽数藏于尺幅。\n\n题诗衬景，把寻幽山径、千峰如帘的诗意融于画中，尽显林泉山居的澹泊桃源之趣。虚实相生间落笔随性自在，不滞成法，将对山野深秀静穆的偏爱藏在笔底，淡墨浅彩里满是出世幽居的悠然意致。",[23,24,25,385,114,118,30,7,35,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a28274ae84fa01320bbfa5f181452.jpg",[],{"id":14930,"slug":14931,"title":14932,"dynasty":223,"author":858,"museum":514,"description":859,"tags":14933,"thumbUrl":14934,"material":140,"size":869,"collection":179,"collections":14935,"showCount":14791,"zanCount":48,"manualWeight":48,"mainColor":128},223054,"hong-lou-meng-179-sun-wen-223054","红楼梦179",[23,24,25,29,28,61,116,63,64,62,154,528,117,173,69,70,7,1044,1621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e5eba9e39159cf3c0ab3897bedecf0.jpg",[],{"id":14937,"slug":14938,"title":14939,"dynasty":223,"author":8448,"museum":167,"description":14940,"tags":14941,"thumbUrl":14942,"material":415,"size":14943,"collection":124,"collections":14944,"showCount":14791,"zanCount":11,"manualWeight":48,"mainColor":49},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,25,202,28,30,243,37,7,244,32,115,62,63,64,2796,118,426,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[124,45],{"id":14946,"slug":14947,"title":14948,"dynasty":223,"author":1431,"museum":459,"description":14949,"tags":14950,"thumbUrl":14951,"material":936,"size":14952,"collection":179,"collections":14953,"showCount":14791,"zanCount":48,"manualWeight":48,"mainColor":128},222625,"shan-shui-shan-mian-4-gong-xian-222625","山水扇面-4","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[23,2895,24,25,114,118,30,579,63,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030eef42f9fe02485556236ab0f68ff9.jpg","纵22.7厘米，横63.1厘米",[],{"id":14955,"slug":14956,"title":14957,"dynasty":133,"author":1837,"museum":167,"description":14958,"tags":14959,"thumbUrl":14961,"material":316,"size":14962,"collection":124,"collections":14963,"showCount":14791,"zanCount":48,"manualWeight":48,"mainColor":49},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,24,25,26,1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牵马缓行，或捧物侍立，动态鲜活。背景山峦绵延，枯树疏枝点缀其间，萧瑟的边塞景致与人物的离愁相呼应。画家以工笔细描人物衣纹，线条流畅婉转；设色雅致沉稳，既显华贵又不失苍凉。山水部分运用皴法，勾勒出山石肌理，增添了画面的厚重感。整体作品将叙事性与抒情性融合，在细腻的笔触中传递出历史故事的深沉意蕴。",[23,202,29,28,61,170,90,30,426,7,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b016e1170af82440aad8ae186415c2.jpg",[124],"8a6741",{"id":15034,"slug":15035,"title":15036,"dynasty":133,"author":355,"museum":167,"description":1960,"tags":15037,"thumbUrl":15039,"material":303,"size":15040,"collection":179,"collections":15041,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},290953,"gu-kou-chun-geng-tu-wang-meng-290953","谷口春耕图",[152,24,114,202,30,118,243,7,35,15038,119,153,155],"春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88b00622127b2452424c1936ff6f2767.jpg","124.9x37.1",[],34,{"id":15044,"slug":15045,"title":15046,"dynasty":133,"author":134,"museum":459,"description":15047,"tags":15048,"thumbUrl":15049,"material":808,"size":809,"collection":179,"collections":15050,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},290821,"tian-chi-shi-bi-tu-zhou-huang-gong-wang-290821","天池石壁图轴","《天池石壁图》描绘了天池山水的景色，图中多用淡赭，染以墨青墨绿，层峦叠嶂，山石相间，陡崖、矾石高坡、岩块形态各异，姿态万千，展示了天池石壁的雄秀。",[24,152,202,30,114,28,118,117,7,116,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76bf999b054c15ee955a1c5b71c389b.jpg",[],{"id":15052,"slug":15053,"title":15054,"dynasty":18,"author":3595,"museum":459,"description":15055,"tags":15056,"thumbUrl":15058,"material":808,"size":809,"collection":179,"collections":15059,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},288545,"jiang-cun-qiu-xiao-tu-zhao-ling-rang-288545","江村秋晓图","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[24,26,114,30,138,156,64,7,117,1376,15057,6503],"秋晓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4bf7eee613995343f6bb7227076da9.jpg",[],{"id":15061,"slug":15062,"title":2495,"dynasty":223,"author":1533,"museum":167,"description":10958,"tags":15063,"thumbUrl":15064,"material":122,"size":15065,"collection":179,"collections":15066,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},287767,"fang-huang-gong-wang-shan-shui-tu-wang-jian-287767",[24,152,25,202,114,28,60,118,30,63,64,117,7,119,153,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c65d60415a5a08a23fe71311ba2551.jpg","78.8x38.8",[],{"id":15068,"slug":15069,"title":15070,"dynasty":18,"author":434,"museum":459,"description":15071,"tags":15072,"thumbUrl":15073,"material":179,"size":179,"collection":44,"collections":15074,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},238123,"luo-shen-fu-tu-juan-yi-ming-238123","洛神赋图卷","山峦烟波连绵铺陈，林木蓊郁掩映着红彩勾描的殿宇与行游伫立的人物，将缥缈仙乡揉入苍古山水间。笔意朴拙苍润，沉雅的设色在旧绢上晕开朦胧古韵，把人神邂逅的缱绻怅惘融在丘林烟水之中。循着长卷舒展，仿佛能触碰那段仙凡相望的怅惋情缘，古典浪漫的幽柔余韵顺着山峦水波漫溢开来，让悠远诗意随着卷幅缓缓流淌，将文字中的缥缈幻境化为可观可感的具象图景，晕染出绵长的东方浪漫意趣。",[152,24,25,26,29,437,28,61,30,726,62,7,37,1124,90,116,170,60,153,64,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475d23ff1062208a9ad78b661dc95388.jpg",[44],{"id":15076,"slug":15077,"title":13771,"dynasty":54,"author":7574,"museum":459,"description":15078,"tags":15079,"thumbUrl":15080,"material":179,"size":179,"collection":124,"collections":15081,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},238078,"shan-shui-juan-ye-cheng-238078","叶澄[明]字原静（无声诗史作元静，明画录遂以叶澄为叶元静，疑误）。其先吴（今江苏苏州）人。画山水仿董源，为戴进之师。",[23,24,26,28,118,30,117,7,500,968],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e87689d8a91e2721e35664da5c862c.jpg",[124],{"id":15083,"slug":15084,"title":15085,"dynasty":223,"author":1533,"museum":20,"description":15086,"tags":15087,"thumbUrl":15088,"material":936,"size":15089,"collection":124,"collections":15090,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},236364,"fu-shui-yan-tu-zhou-wang-jian-236364","拂水岩图轴","本幅图的右上有王鉴题字：「癸巳二月访牧斋宗伯于虞山，放舟拂水岩写所见。」因此知道这幅画是在描绘虞山。虽然本图没有细致的描绘实景，但却有突出拂水岩幽静偏远的特点，是王鉴中年时的佳作。",[24,475,114,202,118,341,342,7,244,69,37,676,206,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799166788c5a371ed7ffb58f4be40b56.jpg","纵67.8厘米，横31.3厘米",[124,103,1822],{"id":15092,"slug":15093,"title":15094,"dynasty":223,"author":3775,"museum":459,"description":15095,"tags":15096,"thumbUrl":15097,"material":808,"size":809,"collection":179,"collections":15098,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},235637,"fang-gu-shan-shui-ping-wu-li-235637","仿古山水屏","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[24,25,30,28,118,958,62,117,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df074ba8c51f80c12f8c57d5b60b59c.jpg",[],{"id":15100,"slug":15101,"title":4788,"dynasty":133,"author":4160,"museum":20,"description":15102,"tags":15103,"thumbUrl":15104,"material":936,"size":4792,"collection":179,"collections":15105,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},233747,"qiu-jiang-dai-du-tu-zhou-sheng-mao-233747","是图以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。",[24,25,202,114,28,118,29,30,7,115,64,500,244,156,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65342cf58865624dc1a8d91ec27f81.jpg",[],{"id":15107,"slug":15108,"title":15109,"dynasty":223,"author":15110,"museum":20,"description":15111,"tags":15112,"thumbUrl":15113,"material":1218,"size":15114,"collection":179,"collections":15115,"showCount":15042,"zanCount":928,"manualWeight":48,"mainColor":128},233119,"xi-xi-yu-yin-tu-zhou-zhang-ci-ning-233119","西溪渔隐图轴","张赐宁","主人公西溪时年47岁，身处邗上（约今江苏一带）。图绘西溪长髯戴笠、左手执钓竿、端坐于坡陀之上的情景。他双目有神，神情淡定，面部稍加晕染，衣纹线条简洁。其身后为溪水潺潺，群山渺渺。近前树木高者茂盛，矮者丛生，坡石嶙峋。繁而不杂的景致与清丽淡雅的设色，极好地衬托出西溪高逸的人格和淡泊的情怀。",[24,25,202,114,28,118,30,7,117,61,639,289,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc78d95e4f7aa37f40fd62d0d5360cbe2.jpg","纵194厘米，横94.5厘米。",[],{"id":15117,"slug":15118,"title":15119,"dynasty":133,"author":1837,"museum":459,"description":15120,"tags":15121,"thumbUrl":15122,"material":140,"size":15123,"collection":179,"collections":15124,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},232641,"yu-lie-tu-quan-juan-zhao-meng-fu-232641","羽猎图全卷","赵孟頫[fǔ]（1254年10月20日 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。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远",[23,152,24,26,28,118,30,341,7,61,90,1855,156,244,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":15126,"slug":15127,"title":15128,"dynasty":133,"author":10842,"museum":167,"description":15129,"tags":15130,"thumbUrl":15131,"material":360,"size":15132,"collection":179,"collections":15133,"showCount":15042,"zanCount":928,"manualWeight":48,"mainColor":128},232253,"zhu-xi-lan-sheng-tu-guan-dao-sheng-232253","竹溪揽胜图","此幅旧传为管氏所作，画山峦起伏，缘溪瓦屋数椽，丛竹错落其间，溪边泊舟，桥上行人，以水墨细致之笔调，写宁静之村景，真得小桥、流水、人家之诗意\n管道升（1262－1319年），吴兴人。字仲姬，赵孟頫妻。（1317年延祐四年）封魏国夫人。翰墨辞章不学而能，笃信佛法，书牍行楷与乃夫赵孟頫几不可辨异同，为中国书画史上著名女性作家之一。",[24,114,30,1067,206,115,358,500,1474,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72880b50c05fbf5396230366c11651d.jpg","此幅 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in a wheatfield",[3239,3240,15208,9097,10852,5232,7,5404,881,411,3148],"笔触厚重","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99996059a343e52197373a7b63606710.jpg",[3244],{"id":15212,"slug":15213,"title":15214,"dynasty":3235,"author":434,"museum":459,"description":15215,"tags":15216,"thumbUrl":15218,"material":179,"size":179,"collection":179,"collections":15219,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},225299,"fu-shi-hui-20-yi-ming-225299","浮世绘20","以平远视角铺展幽谧山水，青绿与浅赭晕染层叠丘峦，远景丹峰隐现薄雾间。苍松错落点缀崖岸水畔，清劲枝条勾勒古拙苍劲的意态。蜿蜒水泽以留白代雾霭，将远近景致朦胧晕开，崖间飞瀑垂落，松林深处掩映山居小屋，暗合隐逸幽居的雅趣。\n\n敷色淡雅柔和，线条清简雅致，将山居逸趣融于山水之间，带着恬淡禅意，把林泉山水的空灵悠远定格于纸面，尽显东方山水美学里悠然出世的诗意。",[15217,28,11574,30,204,540,206,37,500,35,244,7,5404,1390],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d34a0a4546fef429a300e8f75a2d43.jpg",[],{"id":15221,"slug":15222,"title":15223,"dynasty":223,"author":1533,"museum":658,"description":15224,"tags":15225,"thumbUrl":15226,"material":15227,"size":15228,"collection":124,"collections":15229,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},224487,"yuan-shan-gang-luan-tu-wang-jian-224487","远山岗峦图","构图繁而不乱，山石错落有致，而且笔法华润圆细，秀逸中不失严谨，纤细而不流于柔弱，刚柔并济，浓淡兼施，皴染同举，别有风采。\n这幅作品虽然是仿古，但是作者也是在临摹古画的基础上又融入了自己的思想而创作的，有他自己的特色。纵观全图，坡岸上石矶堆砌、层叠向上，远处山体高耸，峭壁悬崖，气势壮观。山上林木葱茏、青翠、茂盛，清气袭人。远处山涧，瀑布飞流直下，泻入溪中。岸边、山腰上建有水榭亭台、屋宇楼阁，或隐或现。一高士神态安详，端坐于水榭中，环视着四周淡远的景色。他那悠然自得、轻松惬意的神情深深地感染着观者。\n此画为竖构图，景物布置得繁而不塞、杂而不乱，可谓层次分明、经营有序。画家用浅赭色染树干、坡脚及屋墙，树叶和崖顶的平台用石绿色染出。由于山石多次以淡墨皴染，又用焦墨反复 积加，所以画面显得浑厚壮观。不过，山石用笔含蓄内敛，丝毫没有外露的痕迹，皴法细密、刻画准确、墨色浓润，所以又为画面增添了灵秀之气。再加之少量的赭色晕染，使画面达到了刚劲与柔美、雄浑与雅秀的统一。更值得一提的是，画家在设色上并非勾勒填彩，而是将石绿、淡赭、水墨自然地融合在一起，故此画没有以往青绿山水画的俗艳之气，而是别有一种雅淡之韵、灵逸之趣。王鉴在青绿设色上是少有的高手，据说清代三百年间的山水画家中很少有人能超过他。这一点，由此图可窥见一斑。\n此图款署“庚戌九秋，仿黄子久笔意，王鉴”，下钤“王鉴之印”。王鉴的画大多题“仿”古人，如“仿北苑”、“仿令穰”、“仿雪松”、“仿江贯道”、“仿董源”、“仿巨然”等。但他的“仿”并不是简单地模仿古人的笔墨技巧、构图布局，而是重在体味、吸收、融汇前人的笔墨结构，以形成自己的山水画语言。此图便是画家以模仿黄公望的笔意为主，又融合董源、巨然两家之萧散、平淡的风格绘成的。画家用墨色由淡及浓地层层晕染，使作品虚实有致、层次丰富。此画较黄公望的画更加清润、明洁，有一股清雅的书卷气。王时敏称王鉴的画“以秾丽为宗，然高华、秀逸兼而有之”。",[23,24,28,118,30,243,7,540,358,206,244,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b666d72fb7f59c63cabf0b46996ab26.jpg","绢本设色.","151cmx66cm",[124],{"id":15231,"slug":15232,"title":15233,"dynasty":223,"author":2792,"museum":459,"description":15234,"tags":15235,"thumbUrl":15236,"material":179,"size":179,"collection":179,"collections":15237,"showCount":15042,"zanCount":11,"manualWeight":48,"mainColor":128},224442,"fang-ju-ran-xi-shan-yu-ji-tu-wang-hui-224442","仿巨然溪山雨霁图","此作用淡墨晕染山峦，烟岚轻笼峰巅，将雨霁后空濛湿润的山景铺展开来。以披麻皴勾勒山石肌理，层层叠叠的丘壑尽显浑朴苍润，暗承江南山水的悠远意韵。\n\n近岸林木错落，点叶苍秀灵动，坡渚间杂草丰茂，野意十足。山谷村居隐于林泉之间，更衬出溪山幽谧清寂。\n笔墨秀雅兼具浑厚，把雨后天朗气清、山光涤荡一新的悠然宁静尽数烘托，于皴擦点染间尽显山水清润灵秀的意境，复刻古法同时自出新意，晕染出江南烟岚山水的温润诗意。",[23,24,25,202,114,118,60,30,341,1644,7,37,244,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d160e13391e67af2c1ba02073ffad9e.jpg",[],{"id":15239,"slug":15240,"title":15241,"dynasty":223,"author":15242,"museum":459,"description":15243,"tags":15244,"thumbUrl":15245,"material":179,"size":179,"collection":179,"collections":15246,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},224339,"guan-bang-tu-juan-liang-xiang-224339","观榜图卷","梁亯","画面铺展乡野村居的鲜活日常，黛瓦村舍错落排布，临河的敞轩里有人闲坐观景，石拱桥畔有人凭栏眺望。山道间行人三两，或驻足热切交谈，或信步缓行，晕染出放榜后的松弛氛围。\n\n青绿点染坡岸古木，苍枝翠叶间生机盎然，工细的界画勾勒出民居的质朴规整，衣袂飘举的人物鲜活灵动。没有宫墙下的喧嚷拥挤，转而描摹乡邻间传递喜报、私语闲谈的烟火日常，将士林放榜后乡里的起落心绪融在淡雅的设色之中，笔底尽是平淡又真切的世情暖意，复刻出旧时乡野间的鲜活世相。",[23,24,25,26,28,29,59,61,62,63,7,156,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17a44f425b0d90604d33eb2089636e.jpg",[],{"id":15248,"slug":15249,"title":15250,"dynasty":18,"author":434,"museum":459,"description":15251,"tags":15252,"thumbUrl":15253,"material":40,"size":15254,"collection":42,"collections":15255,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},223503,"song-yan-xian-guan-yi-ming-223503","松严仙馆","图绘崇山中的多处建筑群，自上而下分部。画面顶端在绿树的围绕中，多座房顶露出，房屋建造宏伟，青瓦飞檐，四方端正，应为图名“仙馆”了；画中部所绘山石断面很有特色，细线勾勒整齐而光滑；近处流水涓涓，两边绿树苍翠，实为世外桃源之美景。",[23,24,25,475,28,29,118,761,62,117,7,64,500,37,69,501,2421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[42,124,103],{"id":15257,"slug":15258,"title":15259,"dynasty":18,"author":434,"museum":167,"description":15260,"tags":15261,"thumbUrl":15262,"material":177,"size":15263,"collection":179,"collections":15264,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},223408,"nv-xiao-jing-tu-juan-yi-ming-223408","女孝经图卷","中国人物画的创作目的之一是强调绘画的政治教化功能。唐代张彦远在《历代名画记》中曾明确指出“画者，成教化，助人伦，穷神变，测幽微，与六籍同功，四时并运者也”。现存最早的以画卷形式宣传女德、女诫教义的作品当属东晋顾恺之（传）创作的《女史箴图》、《列女仁智图》。《女孝经》作为绘画的表现题材，早在五代后蜀后主孟昶执政时期，就被画家石恪精心创作。据宋代内院奉敕编撰的《宣和画谱》记载，当时，石恪依据《女孝经》内容仅绘制了8幅图，可惜其作品未能流存于世。此幅由南宋佚名画家创作的《女孝经图》，便成为目前保存最好、时代最早的反映《女孝经》内容的代表作。\n此图卷以其较高的艺术造诣向世人展示了宋代仕女画成熟的风貌。\n每幅图依据表现内容的不同形成各自独立的画面，同时作者利用人物的造型、服饰及统一的笔墨形式又使各图之间既相对独立又彼此联系呼应，从而达到了形散而神聚的艺术效果。此图卷中重点表现的对象是三五成群的仕女，她们挽高髻，饰簪花，面形长圆而丰满，尚存唐代仕女画的面形特征，但形体上已没有了唐代仕女臃肿艳肥的体态，而显露出向明清仕女画修长秀美体形过渡的趋向。她们身材的曲线美被作者加以充分表现，细腰纤手，婀娜轻盈。人物的神态皆雍容大方，端庄娴静，动作举止亦守规守矩，从而生动地图解了母仪、贤明、仁智等封建妇女必须遵守的言行准则。作者在处理人物与环境的关系上十分成功，穿插于人物中的树木枝繁叶茂，数量虽然不多，但作为人物活动的衬景构筑出了淡泊宁静的自然环境，从而丰富了人物活动的空间，并令用于说教的画面增添了生趣。而具良好德行的贤妇烈女们在树下谈经论道或勤于女红，又为这清幽的境地增添了几分崇高的意趣。",[23,24,26,29,28,437,61,70,7,62,269,528,689,170,289,116,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd14950ec691dae510436a9d31262f4.jpg","纵43.8厘米，横823.7厘米",[],{"id":15266,"slug":15267,"title":6632,"dynasty":223,"author":1310,"museum":167,"description":15268,"tags":15269,"thumbUrl":15270,"material":28,"size":15271,"collection":179,"collections":15272,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},223098,"fang-wang-meng-shan-shui-zhou-tang-dai-223098","此幅描繪滿是白雪覆蓋的山國中，峰巒陡直林立，澗水曲折回流，寒林散列各處，由畫面中傳來一股凜冽的寒氣。\n唐岱字毓東，號靜岩，又號知生、愛廬、默莊。山水師法王原祁，遠承董、巨、黃、王之遺脈，用筆沉厚，布局深穩，但為適應宮廷需要，其畫風更趨纖秀細膩，瑣碎繁複，富於裝飾性。存世作品有《仿倪瓚清閟閣圖》，《仿范寬秋山瀑布軸》，《仿王蒙山水軸》等。",[23,24,30,202,60,118,28,341,342,540,69,63,244,7,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fcde53a099914404cada415fc2c26f.jpg","310x123厘米",[],{"id":15274,"slug":15275,"title":15276,"dynasty":223,"author":858,"museum":514,"description":859,"tags":15277,"thumbUrl":15278,"material":140,"size":869,"collection":179,"collections":15279,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},223060,"hong-lou-meng-46-sun-wen-223060","红楼梦46",[23,24,25,385,29,28,59,61,90,62,30,7,63,35,528,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1253286b5330bfb421905cfde8ccfc2.jpg",[],{"id":15281,"slug":15282,"title":6479,"dynasty":54,"author":11317,"museum":56,"description"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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑孰画派创始人。其父萧慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。",[23,24,114,118,202,30,117,7,64,116,500,504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9506285d1f977096cfef7d4935bf92db.jpg","轴","67×52cm",[124,45],{"id":15290,"slug":15291,"title":15292,"dynasty":54,"author":15293,"museum":459,"description":15294,"tags":15295,"thumbUrl":15296,"material":40,"size":15297,"collection":124,"collections":15298,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},222163,"qi-ma-you-shan-tu-liu-yan-222163","骑马游山图","刘琰","图绘崇山峻岭中一座高楼映入眼帘，飞檐立柱，高大宏伟；屋前树木葱郁，繁花开放，一位红衣男子骑马停步赏景！此幅图的山脉绿树画法很具特色，与同时代画家蓝瑛有相似之处。",[23,24,28,29,59,30,61,90,62,7,117,968,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0f2a66c07d9c664105cdc11e6d8c1b.jpg","纵49cm，横67cm",[124,103],{"id":15300,"slug":15301,"title":15302,"dynasty":133,"author":15303,"museum":56,"description":15304,"tags":15305,"thumbUrl":15306,"material":114,"size":15307,"collection":179,"collections":15308,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},221723,"liu-chen-ruan-zhao-ru-tian-tai-shan-tu-juan-zhao-cang-yun-221723","刘晨阮肇入天台山图卷","赵苍云","赵苍云是宋代皇室家族成员，经历了南宋灭亡、蒙元统治的巨大变化。他采用李公麟的白描手法描绘了汉代刘晨、阮肇入天台山遇仙的故事。天台山在浙江天台县北，传说刘晨、阮肇入天台山采药，遇见两个仙女，留他们住了半年。后来他们要求回家，到家乡时发现已经过了七世，这种天堂与人间的巨大反差让他们感到疏离与不适应，这也是许多宋代遗民在蒙古人统治下的心境。\n关于赵苍云的资料，我们只有在这幅画卷的题跋中所知一二。第一段跋中，元代人华幼武（字彦清，号栖碧，无锡人。生于元成宗大德十一年，卒于明太祖洪武八年，年六十九岁。平生笃于孝友。少有盛名。）说赵苍云以没骨法作水墨山水与人物画。华还说赵苍云年轻时比他的同宗赵孟坚、赵孟頫更有名气。后来赵苍云归隐山林，不婚不仕，他的生平资料没有任何记载，只有这幅画留存人世。\n华幼武跋语：苍云山人，本赵宋宗室。高奇嗜酒，绘事入神。山水横放，大都仿没骨图，而生动过之。人物工致，别有姿韵，世不多见。所作刘阮天台图，意境萧散，神趣闲逸，曹衣吴带，设色妍妙，有诸家所不能及者。窃意刘阮未必非乌有子虚，唐人云：“仙姝宜属魅界。”但得此墨妙，觉灵山俨然，西园犹在，展卷不知身在桃云柳浪、清风红日间也。苍云早岁，名在子昂、子固之上，不婚不宦，每隐于山林湖舫，虽亲串无从踪迹，世人得其片帧，几如拱璧，此其匠心运意，备极惨澹，当不能有二也。洪武十二年秋九月，华幼武书於春草轩。",[23,152,24,25,26,437,114,61,30,117,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f6ca0b72de89d4c9bf952820d989cd.jpg","22.5cm×561.34cm",[],{"id":15310,"slug":15311,"title":15312,"dynasty":18,"author":5269,"museum":20,"description":15313,"tags":15314,"thumbUrl":15315,"material":415,"size":15316,"collection":124,"collections":15317,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},221216,"song-he-ceng-lou-tu-ye-zhang-dun-li-221216","松壑层楼图页","張敦禮 ，熙寧元年選尚英宗女祁國長公主，授左衞將軍、駙馬都尉，遷密州觀察使。元祐初，疏言：“變法易令，始於王安石，成於蔡確。近者退確進司馬光，以臣觀之，所得多矣。”進武勝軍留後。",[23,24,152,385,28,118,59,119,153,30,761,62,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38201b375c0d8926df9611e75942c0b.jpg","25X29厘米",[124,45],{"id":15319,"slug":15320,"title":15321,"dynasty":54,"author":9719,"museum":56,"description":15322,"tags":15323,"thumbUrl":15324,"material":122,"size":15325,"collection":124,"collections":15326,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},220051,"luo-bi-yan-yun-tu-chen-chun-220051","落笔烟云图","绘山水相连，几叶扁舟顺风而下，房子、小亭依山而建，好一派清静优雅的景像！此卷用笔略显轻浮，题款亦不真，或是托名之作。",[23,24,26,114,228,30,115,63,64,7,117,35,156,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74da3cb2410a235ae2231e497fab346d.jpg","32.7cm×750.6cm",[124],{"id":15328,"slug":15329,"title":15330,"dynasty":54,"author":15331,"museum":299,"description":15332,"tags":15333,"thumbUrl":15334,"material":303,"size":15335,"collection":124,"collections":15336,"showCount":15042,"zanCount":11,"manualWeight":48,"mainColor":128},219719,"qiu-lin-yuan-xiu-tu-yang-wen-cong-219719","秋林远岫图","杨文骢","此画构图可分远景、中景、近景三段式；远景为重山叠嶂，山峰林立，山间杂木和衰草丛生。山巅烟云缭绕，似与天相连：中景一片广阔的江水，一泓清流，平静如镜，近河岸处，山石露小，近景为坡岸山石，乱石横卧，坡石间树木和杂草丛生，一株株树木，根根枝干挺直而上，枝叶疏密相间，错落有致。若人居之，上可聆听萧萧山风，下可俯观静谧的江水。",[23,24,25,202,114,118,30,7,117,994,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d6d41811a6271aa2a6e27944c864f0.jpg","纵144.5厘米，横55.8厘米",[124],{"id":15338,"slug":15339,"title":15340,"dynasty":223,"author":12728,"museum":56,"description":15341,"tags":15342,"thumbUrl":15343,"material":122,"size":179,"collection":124,"collections":15344,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},219712,"xiao-yuan-yin-jiu-tu-luo-pin-219712","筱园饮酒图","描绘扬州私人园林的风景画：偌大的宅院被松柏杂树所包围，房屋排列有致，几人正在屋内饮酒清谈。大概是秋冬时节，叶木已然飘零，庭院显得寂静而空旷。筱园建于康熙末年，位于二十四桥畔，滨湖而筑，凿池引水，修亭筑榭。春有芍药夏有荷，秋有桂花冬有梅，栽松种竹，可谓四时之景俱佳。",[24,28,59,114,62,994,117,70,61,7,69,13495,694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c31561ded939c6e30f1f594790ca72.jpg",[124],{"id":15346,"slug":15347,"title":15348,"dynasty":18,"author":15349,"museum":15350,"description":15351,"tags":15352,"thumbUrl":15353,"material":303,"size":179,"collection":124,"collections":15354,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},219706,"bai-miao-yue-bing-tu-li-zao-219706","白描阅兵图","李早","刘海粟美术馆","淡墨晕开平远丘壑，清旷烟岚晕染出空濛郊野，劲挺林木错落排布，晕染出幽寂底色。整肃的军马武士隐现于浅渚平坡间，白描线条清劲洗练，将军士的端严、战马的神骏勾勒得灵动传神，不着浓丽色彩，仅凭虚实笔墨，就将阅兵时的沉凝肃穆尽数铺展。\n\n卷上题跋添就文史意趣，山水意境糅合军旅气象，以简淡笔墨托出兵阵的雄浑威仪，静穆烟岚之下暗涌军阵张力，尽显笔墨雅韵与写实功力，将盛大阅兵的宏大气度，藏在清和的丘壑林泉之间。",[23,24,25,26,437,119,61,90,3315,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ddd2c5d153d84f8a246a4de734fb049.jpg",[124],{"id":15356,"slug":15357,"title":15358,"dynasty":223,"author":8448,"museum":299,"description":15359,"tags":15360,"thumbUrl":15362,"material":78,"size":179,"collection":124,"collections":15363,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},219485,"tian-bao-jiu-ru-tu-gao-qi-pei-219485","天保九如图","画峰耸立，山谷深邃，云雾缭绕。 画面左上方巨岩的主峰直冲云霄，有立壁之势。",[24,25,202,15361,28,30,61,117,7,502],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10c5c3af2a80ea2558949079d71c527.jpg",[124],{"id":15365,"slug":15366,"title":15367,"dynasty":18,"author":298,"museum":167,"description":15368,"tags":15369,"thumbUrl":15370,"material":114,"size":15371,"collection":124,"collections":15372,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},219357,"xi-qiao-san-bu-zhou-li-gong-lin-219357","溪桥散步轴","云雾轻笼远山，层峦叠嶂间隐现沙洲，溪水流淌过平野，小桥横卧其上。近岸枯木疏枝错落，几椽茅舍掩映于林麓，有人影缓步溪畔，似与自然低语。山石以细腻线条勾勒，墨色浓淡相宜，皴擦间显苍劲质感；水面留白处见清浅波纹，愈显空濛。整幅画面虚实相生，远近层次分明，笔墨雅致温润，将文人隐逸的闲适心境与山水之清幽完美契合，尽显自然之趣与人文之韵，宛如一曲无声的田园牧歌，引人沉醉于这份宁静悠远之中。",[24,152,25,202,114,118,30,63,64,7,117,35,994],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4e06587a7f9fc815ef7ad4a35387.jpg","50.4x25.3",[124],{"id":15374,"slug":15375,"title":15376,"dynasty":18,"author":434,"museum":167,"description":15377,"tags":15378,"thumbUrl":15380,"material":78,"size":15381,"collection":42,"collections":15382,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},218860,"xiao-shi-sheng-luan-tu-yi-ming-218860","萧史乘鸾图","这幅画是根据秦国公的女儿鲁豫的传说创作的。作者巧妙地利用扇面的圆形框架，将人物、建筑和凤凰围成一圈，在中间留出空隙，以扩大画作的意义。",[23,24,28,29,385,61,170,15379,8988,7,37],"鸾鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780e13d780ec8d0ca13d6d3282b6afad.jpg","22.8x23厘米",[42],{"id":15384,"slug":15385,"title":15386,"dynasty":133,"author":4150,"museum":167,"description":15387,"tags":15388,"thumbUrl":15389,"material":555,"size":15390,"collection":124,"collections":15391,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},218725,"bao-jin-jing-du-tu-wang-zhen-peng-218725","宝津竞渡图","界笔如丝，勾勒出楼阁层叠错落，飞檐翘角似振翅欲飞，梁柱间精巧纹饰尽显匠心底蕴。水面上龙舟竞渡，旌旗猎猎，舟中人群攒动——或击鼓助威，或挥桨逐浪，浪花翻涌间满是喧腾热闹。整幅画以细腻线条铺陈，将宋代汴京宝津楼前的端午盛景凝于绢素，既有界画的严谨工整，又不失动态的鲜活灵动，仿佛鼓点与欢呼交织耳畔，昔日都城的繁华气象跃然眼前。",[24,25,26,59,437,61,62,63,64,12021,7,69,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda29ce46bd5c86dc803d1bc684f736b8.jpg","36.6x183.4cm",[124],{"id":15393,"slug":15394,"title":15395,"dynasty":133,"author":434,"museum":167,"description":15396,"tags":15397,"thumbUrl":15398,"material":78,"size":15399,"collection":44,"collections":15400,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},218228,"di-yi-a-ying-a-ji-da-zun-zhe-yi-ming-218228","第一阿迎阿机达尊者","尊者趺坐石畔，衣纹流转如微风拂过的涟漪，一手托腮，眸光低垂却似洞穿万象。眉宇间凝着浅浅思索，唇边漾开若有若无的笑意，禅意便在这静默神态里漫溢。身后古木虬枝，叶影婆娑，与头顶圆光相衬，晕开温润光晕。远处峰石隐现，亭台依稀，似是尘外清境。\n\n笔墨以线塑形，婉转中见骨力，淡墨晕染出清寂氛围，将尊者的沉静与天地的悠远交织。无需浓墨重彩，只凭简淡之笔，便勾勒出禅者澄明心境，尽显元人绘佛的空灵韵致——于寻常物象藏深意，于静默观照见真如。",[24,25,202,923,437,114,28,61,7,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75cf9de2fc1b5e28c349fd7a531f9aaa.jpg","109.5x46",[44],{"id":15402,"slug":15403,"title":15180,"dynasty":133,"author":434,"museum":658,"description":15404,"tags":15405,"thumbUrl":15406,"material":78,"size":15407,"collection":124,"collections":15408,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},218210,"lou-ge-tu-yi-ming-218210","楼阁图是元朝时期的一种著名绘画风格。它以其栩栩如生的再现自然风光和精细的内部装饰而闻名。\n\n元朝，又被称作“大元”，是中国历史上继北宋之后的第一个多民族、多语言的王朝。它的建立标志着中国进入了封建制的最后一个阶段。元朝的建立者是蒙古族公主忽必烈，忽必烈是在其父亲蒙哥汗的帮助下统一了全国，并于1271年建立了元朝。\n\n楼阁图是元朝时期的一种流行的绘画风格。这种绘画风格的特点是对山水风光的再现以及对宫殿、院落、楼阁等建筑物的精细描绘。楼阁图通常是以山水为背景，描绘出宏伟的宫殿、庄严的寺庙、雄伟的城池等景象。它的画风细腻、精巧，注重细节，给人以视觉上的享受。",[24,152,28,59,62,30,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029c4d5225d5f29d73cf189d792af37d.jpg","25.3x21.7cm",[124],{"id":15410,"slug":15411,"title":15412,"dynasty":133,"author":434,"museum":111,"description":15413,"tags":15414,"thumbUrl":15415,"material":78,"size":15416,"collection":124,"collections":15417,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":49},215144,"xuan-pu-chun-shen-tu-yi-ming-215144","悬圃春深图","悬圃春深图是一幅元朝（1271-1368）时期的图画，作者佚名。这幅图展示了一个人站在悬圃之上，俯视着春天的景色。悬圃是一种古老的中国园林建筑，通常是一个圆形的小建筑，用来观赏周围的景色。在这幅图中，悬圃上的人可以看到树木芽生，花儿开放，鸟儿欢快地唱歌。这幅图捕捉了春天带来的生机勃勃的气息，是一幅生动而优美的作品。",[24,59,28,27,2895,62,30,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d3510d20cfcdbf5cc710910d3669f7d.jpg","26x27.8cm",[124],{"id":15419,"slug":15420,"title":15421,"dynasty":54,"author":11727,"museum":111,"description":14073,"tags":15422,"thumbUrl":15423,"material":122,"size":14076,"collection":179,"collections":15424,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},214673,"san-jue-tu-2-yao-shou-214673","三绝图-2",[24,25,385,114,28,30,118,63,64,115,7,243,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd2380dd3ead30497ae3b9b56171da9.jpg",[],{"id":15426,"slug":15427,"title":15428,"dynasty":223,"author":2792,"museum":423,"description":15429,"tags":15430,"thumbUrl":15431,"material":122,"size":179,"collection":179,"collections":15432,"showCount":15042,"zanCount":48,"manualWeight":48,"mainColor":128},214604,"fang-gu-shan-shui-ce-1-wang-hui-214604","仿古山水册-1","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,25,385,114,118,958,30,7,358,328,32,500,3755,994,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4fe7e77be9de98b8486a5ac52b3d32.jpg",[],{"id":15434,"slug":15435,"title":1178,"dynasty":133,"author":636,"museum":459,"description":11719,"tags":15436,"thumbUrl":15437,"material":808,"size":809,"collection":179,"collections":15438,"showCount":15439,"zanCount":928,"manualWeight":48,"mainColor":49},290830,"shan-shui-zhou-wu-zhen-290830",[24,152,25,202,114,118,30,7,62,63,64,117,1704,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd82f292a0555682f810ce48433f32c.jpg",[],33,{"id":15441,"slug":15442,"title":15443,"dynasty":133,"author":134,"museum":459,"description":13753,"tags":15444,"thumbUrl":15445,"material":808,"size":809,"collection":179,"collections":15446,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":49},290284,"ceng-luan-die-cui-tu-huang-gong-wang-290284","层峦叠翠图",[23,24,26,25,30,114,118,243,7,1705,64,120,12201,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363eb754bba65b5e5f9deefabdc145b5.jpg",[],{"id":15448,"slug":15449,"title":15450,"dynasty":54,"author":955,"museum":459,"description":3846,"tags":15451,"thumbUrl":15452,"material":808,"size":809,"collection":179,"collections":15453,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":49},283756,"yao-cen-po-mo-tu-zhou-dong-qi-chang-283756","遥岑泼墨图轴",[152,24,25,202,114,30,7,117,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50409061721d8c2cbf948c0a5a0e7f86.jpg",[],{"id":15455,"slug":15456,"title":15457,"dynasty":54,"author":955,"museum":459,"description":3846,"tags":15458,"thumbUrl":15459,"material":808,"size":809,"collection":179,"collections":15460,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":128},283748,"shan-shui-tu-ce-ba-kai-dong-qi-chang-283748","山水图册（八开）",[24,385,114,118,30,7,35,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F438769c9f3457e4c3c930a50fcdcfa13.jpg",[],{"id":15462,"slug":15463,"title":15464,"dynasty":223,"author":15465,"museum":459,"description":15466,"tags":15467,"thumbUrl":15468,"material":179,"size":179,"collection":124,"collections":15469,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":49},238665,"xue-jing-shan-shui-ren-wu-tu-zhou-yuan-ying-238665","雪景山水人物图轴","袁瑛","童时侍其叔习山水，既长从徐北山（尚）学花卉，写意之笔，颇有骨力。乾隆三十年（一七六五）膺李因培（鹤峯）之荐，供奉内廷。山水晚年益加精密，出入宋、元，用笔沈厚，宗黄鼎法而变以己意。尝作乔木高居图最妙，张问陶有诗题赠。前后居京师四十年，后官粤东开平县沙冈司（瓯钵罗室书画过目考作开平知县）乾隆五十年（一七八五）归隐葑溪，筑赐诗堂以居。",[24,25,202,28,118,29,818,30,61,7,35,63,64,117,2079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a4bc46b2695a7ea58f51f97d7cf6ce.jpg",[124,45],{"id":15471,"slug":15472,"title":6800,"dynasty":223,"author":2792,"museum":459,"description":6801,"tags":15473,"thumbUrl":15474,"material":179,"size":179,"collection":179,"collections":15475,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":128},237589,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237589",[24,25,152,114,118,958,30,7,35,63,64,289,1665,540,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e7fc3f6bc11163dc26121234f9369f.jpg",[],{"id":15477,"slug":15478,"title":15479,"dynasty":54,"author":15480,"museum":20,"description":15481,"tags":15482,"thumbUrl":15483,"material":2012,"size":15484,"collection":124,"collections":15485,"showCount":15439,"zanCount":928,"manualWeight":48,"mainColor":128},237122,"xi-shan-zi-cui-tu-zhou-wang-duo-237122","溪山紫翠图轴","王铎","此幅是画家为其三弟王鑨所绘，以高远之法图写，远处雄峰峻岭，气势壮阔，中景飞瀑烟岚，尽显空灵，近处碧树流泉，生机盎然，更有文士二人坐于石上观泉品茗，实则表达出王铎希望与兄弟能安居世间、神游物外的一种愿望。王铎的山水画师承广泛，不专一家，观其作品可以看到画家在宗法五代荆浩、关仝以气势与境界奇胜为长的北方画派之外，尚能融入南方画派董源、巨然借水墨晕染烘托山川气韵之法，故而笔墨技巧变化丰富，令人眼目一新。创作中，王铎能有意避开清雅潇洒的画苑时风，落笔从容不迫，轻重缓急收放自如，凭借粗劲中见质朴的艺术面目，在明末清初的艺坛上独树一帜。是图即为画家晚年的此类佳作。",[24,25,202,114,118,30,31,7,206,37,244,38,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5685508e133e9c63badafd9045c0e.jpg","纵95厘米，横36.4厘米",[124,1822],{"id":15487,"slug":15488,"title":3901,"dynasty":223,"author":647,"museum":459,"description":15489,"tags":15490,"thumbUrl":15491,"material":808,"size":809,"collection":124,"collections":15492,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":128},236859,"shan-shui-ce-wang-yuan-qi-236859","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,25,385,114,118,30,341,7,1705,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e76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，设色","纵184.8cm，横79.4cm",[124,103],{"id":15516,"slug":15517,"title":15518,"dynasty":18,"author":713,"museum":167,"description":15519,"tags":15520,"thumbUrl":15521,"material":360,"size":15522,"collection":179,"collections":15523,"showCount":15439,"zanCount":928,"manualWeight":48,"mainColor":49},232782,"yang-zheng-tu-juan-er-liu-song-nian-232782","养正图卷二","刘松年 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Martin, 1884",[7526,3239,7419,7418,9940,243,2795,7,8253,15578,1390,5404,1191],"土路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2cbb23f3a008abcc52adcf058a00cd.jpg",[3244],{"id":15582,"slug":15583,"title":15584,"dynasty":223,"author":497,"museum":20,"description":15585,"tags":15586,"thumbUrl":15587,"material":936,"size":15588,"collection":103,"collections":15589,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":49},224537,"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","此卷是他晚年辞官之后所作。图绘连绵不断的山峦谷地，平台处，空亭独立，高士寻幽而至。其荒寒萧瑟的山水、高士落寞的行踪，正是画家晚年内心情感的写照。图中山石树木以酣畅的笔墨挥就而成，笔法朴拙、放逸，于简约中不失神采。在明末清初摹古风盛行的画坛下，其满怀激情的画作令人耳目一新。",[23,24,25,26,114,30,118,117,7,32,63,35,500,2808,204,73,243,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纵26厘米，横205厘米",[103],{"id":15591,"slug":15592,"title":2263,"dynasty":18,"author":434,"museum":459,"description":15593,"tags":15594,"thumbUrl":15595,"material":179,"size":179,"collection":179,"collections":15596,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":49},223627,"he-ting-xiao-xia-tu-yi-ming-223627","近岸古松盘曲如铁，老木横卧如长虹枕在浅草汀洲，野意自生。林间荷亭翼然明敞，朱棂黛瓦隐在浓荫里，将溽暑拦在林外，似有荷风穿窗而过，裹着清润凉意。杨柳柔条垂烟，轻蘸水面，把夏意晕成一片慵懒。\n\n远景山峦化在濛濛水汽里，只剩淡墨晕开的黛色轮廓，和烟水织就空濛底色。工写相融的笔触里，亭台勾勒精工，林木皴染苍润，淡墨烘出水汽蒸腾的溽暑空茫，把幽居消夏的闲静揉进画面。蝉声隐在叶底，时光漫过松荫，只余一室清凉，将盛夏的燥热尽数消解，藏起宋人藏在小景里的雅致闲情。",[23,24,152,28,29,118,153,30,116,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd39d36753c7bf7f5e869b068f452a9c8.jpg",[],{"id":15598,"slug":15599,"title":15600,"dynasty":18,"author":434,"museum":20,"description":15601,"tags":15602,"thumbUrl":15604,"material":40,"size":15605,"collection":179,"collections":15606,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":128},223524,"huai-yin-xiao-xia-tu-yi-ming-223524","槐荫消夏图","图绘炎炎夏日里，一处槐荫下，一高士平卧榻上，上衣半解，袒胸露乳，闭目酣睡；榻边一条案上摆着香炉、蜡台、书卷等物品，可能高士睡醒后在此读书赏画。",[23,152,24,29,28,61,15603,7,15555,175,1665,274],"卧榻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d0ea42b1fa58b518f644456b170622.jpg","25*28.4cm",[],{"id":15608,"slug":15609,"title":15610,"dynasty":223,"author":858,"museum":514,"description":859,"tags":15611,"thumbUrl":15612,"material":140,"size":869,"collection":179,"collections":15613,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":128},223072,"hong-lou-meng-58-sun-wen-223072","红楼梦58",[23,24,29,28,61,62,70,1665,7,30,154,69,13983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb184dc5ce3cbcae551dd90810e0a89.jpg",[],{"id":15615,"slug":15616,"title":15617,"dynasty":223,"author":15618,"museum":167,"description":15619,"tags":15620,"thumbUrl":15621,"material":15622,"size":15623,"collection":124,"collections":15624,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":128},222843,"hua-wan-he-xiang-yun-zhou-hong-wu-222843","画万壑祥云轴","弘旿","弘旿（1743-1811），为康熙帝玄烨孙，字恕斋，又字醉迂，号一如居士、瑶华道人，官封固山贝子。兼工诗、书、画，有三绝之誉。画初学董邦达（1699-1769），又上追宋、元，笔墨秀润，山水特为蓊郁华滋。本幅为全景式布局，画松壑重重高起，山中并见烟云缭绕，景境幽深。居中的主峰，峰顶矾头错落，并用短笔点簇密林，饶有浑厚峻拔的气势。右下方自题「恭仿范宽笔意」，惟皴山多用长笔披麻，已去范宽（约950-1031间）风格甚远。",[23,24,202,30,114,28,118,341,881,540,63,64,35,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6dc0050c390fb85ef72eff1bad4a7b.jpg","立轴，纸本，设色","112.2×53cm",[124,45],{"id":15626,"slug":15627,"title":15628,"dynasty":54,"author":2132,"museum":167,"description":15629,"tags":15630,"thumbUrl":15631,"material":122,"size":15632,"collection":124,"collections":15633,"showCount":15439,"zanCount":928,"manualWeight":48,"mainColor":128},222408,"qi-xia-shan-tu-zhou-zhang-hong-222408","栖霞山图轴","此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[23,24,25,202,28,118,30,116,540,117,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe3ad4eebcd3b96e914c3432a49117.jpg","341.9x101.8",[124,45],{"id":15635,"slug":15636,"title":15637,"dynasty":54,"author":801,"museum":1110,"description":15638,"tags":15639,"thumbUrl":15640,"material":360,"size":10829,"collection":179,"collections":15641,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":49},222337,"qi-feng-gao-yin-tu-zhou-tang-yin-222337","奇峰高隐图轴","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,24,25,202,28,118,30,4556,204,63,64,7,117,62,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83dc2042fc9030013065e4ae628ede20.jpg",[],{"id":15643,"slug":15644,"title":15645,"dynasty":133,"author":8929,"museum":551,"description":15646,"tags":15647,"thumbUrl":15648,"material":140,"size":15649,"collection":124,"collections":15650,"showCount":15439,"zanCount":928,"manualWeight":48,"mainColor":128},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[23,24,25,114,118,202,341,204,206,244,7,64,117,243,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[124,103],{"id":15652,"slug":15653,"title":15654,"dynasty":18,"author":312,"museum":20,"description":15655,"tags":15656,"thumbUrl":15658,"material":7925,"size":15659,"collection":179,"collections":15660,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":49},221571,"wu-zhu-xi-tang-tu-ye-xia-gui-221571","梧竹溪堂图页","《梧竹溪堂图》为一山水小品。此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。\n此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[23,152,24,25,2244,5161,114,118,30,70,15657,1665,358,117,64,2450,7,69,2725],"梧树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebac27779930c3568caeff06fba9120.jpg","纵23厘米，横26厘米",[],{"id":15662,"slug":15663,"title":15664,"dynasty":18,"author":713,"museum":20,"description":15665,"tags":15666,"thumbUrl":15667,"material":415,"size":15668,"collection":179,"collections":15669,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":128},221547,"shan-guan-du-shu-tu-liu-song-nian-221547","山馆读书图","《山馆读书图》描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,24,25,29,28,59,30,62,540,61,70,7,1067,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234be9e86cbf67a38bc347e7b4419eed.jpg","24.3×24cm",[],{"id":15671,"slug":15672,"title":15673,"dynasty":18,"author":3595,"museum":167,"description":15674,"tags":15675,"thumbUrl":15676,"material":140,"size":15677,"collection":1822,"collections":15678,"showCount":15439,"zanCount":928,"manualWeight":48,"mainColor":1138},221448,"tao-qian-shang-ju-tu-quan-juan-zhao-ling-rang-221448","陶潜赏菊图全卷","描绘了幽林内、小亭中，陶渊明与访友坐对赏花，江干水渚，群卉争发，树本、房舍、池沼、小路等表现很精致，具有化平凡的事物为美丽的事物的艺术效果，设色艳丽，画中人亦无特殊造形，但拖尾诸跋，均以陶潜赏菊故事为题咏，意境颇为优美。卷尾分别有董其昌、詹同、蔡哲、中山居士、张羽、苏伯衡的跋文。",[23,24,25,26,28,29,30,61,9408,116,7,968,120,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7176750b8b30929f53c7de7d6e7f76.jpg","全卷纵30厘米，横416.4厘米，画心纵30厘米，横84厘米",[1822],{"id":15680,"slug":15681,"title":15682,"dynasty":18,"author":10985,"museum":658,"description":15683,"tags":15684,"thumbUrl":15687,"material":140,"size":15688,"collection":179,"collections":15689,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":49},221318,"sha-ting-yan-shu-tu-hui-chong-221318","沙汀烟树图","此图画沙汀烟树迷离的早春景色。江南水乡的初春，杨柳刚吐新绿，春溪满溢，潺潺流淌，河岸水草随风摇曳，成群的水鸟在水上栖止飞翔，隔岸丛树掩映在一片云烟之中，若隐若现，具有浓郁的抒情色彩，在表现微妙迷惘的感觉上获得了成功。取景立意似南方画派，但画法上又不似南方画那样轻淡圆润，山石树木用墨较浓，用笔也较方硬。杂草用笔点簇而成，柳树以方直线条勾出老干，然后再涂染色彩，远山用淡墨平画，很雅致。",[23,24,114,30,120,153,15685,7,156,15686,119],"沙岸","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f44e1b10f5849bbce3c7e94e0ad3cb.jpg","纵24cm，横25cm",[],{"id":15691,"slug":15692,"title":15693,"dynasty":18,"author":1792,"museum":20,"description":15694,"tags":15695,"thumbUrl":15696,"material":415,"size":15697,"collection":124,"collections":15698,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":128},221215,"fei-ge-yan-feng-tu-ye-wang-shen-221215","飞阁延风图页","此图原载《四朝选藻册》。图绘二位仕女，佇立楼台远眺，一位站立桌旁泛览古玩，其态悠闲自在。楼前古松葱茏，亭楼隐隐可见。作者用严谨、缜密的界画作楼台，细笔勾松针，笔法娴熟劲健，设色鲜艳和谐。裱边旧题签「王詵飞阁延风」。但从画风对比分析，与王詵风格不同，故改为无名氏作。画中无款，钤二印(一半印)不可辨。对开有清高宗弘历题诗，钤「八征耄念之宝」、「太上皇帝之宝」、「自强不息」等印。曾经清内府收藏，不见著录。",[23,24,25,385,59,28,62,7,61,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddda2be2d8bd08b99a15bda9153a6936.jpg","纵26、横23.5厘米",[124,45],{"id":15700,"slug":15701,"title":15702,"dynasty":223,"author":3937,"museum":20,"description":15703,"tags":15704,"thumbUrl":15705,"material":360,"size":15706,"collection":179,"collections":15707,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":128},220320,"huang-shan-tu-ce-9-hong-ren-220320","黄山图册-9","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,114,30,385,118,64,117,7,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3f24836a98c1dbd40e046df6418e26.jpg","21.5x18.3厘米",[],{"id":15709,"slug":15710,"title":1571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150x53.7公分、全幅 56公分",[124],{"id":15718,"slug":15719,"title":15720,"dynasty":223,"author":15721,"museum":1202,"description":15722,"tags":15723,"thumbUrl":15725,"material":122,"size":15726,"collection":124,"collections":15727,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":128},219915,"xia-shan-lin-guan-tu-wang-yu-219915","夏山林馆图","王昱","王昱（1714——1748），清代文人画家，字日初，号东庄老人，又号云槎山人、丹林，江苏太仓人。与清代画家王玖、王宸、王愫合称“小四王”。东庄老人师承娄东“四王”一脉，喜山水，其画淡而不薄，疏而有致，笔意在倪瓒、方从义之间。",[152,24,25,202,114,30,118,117,7,64,15724,477,13445],"馆舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c382ccf195e33d1e5689e31fa5aaf5.jpg","105.1x49.8",[124],{"id":15729,"slug":15730,"title":15731,"dynasty":223,"author":1915,"museum":167,"description":15732,"tags":15733,"thumbUrl":15734,"material":303,"size":15735,"collection":124,"collections":15736,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":128},219482,"xi-qiao-lin-ying-tu-zhou-huang-ding-219482","溪桥林影图轴","这幅画描绘了一座横跨小溪的险桥，杂树相互依偎，远处山峰突出。 在笔墨的浩瀚中，呈现出一种宁静。 黄鼎虽然向二王学习，但也能找到自己的路。 所到之处，山水之形",[24,202,114,30,63,117,206,7,994,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc11da83fc8e3ec6b101ff501d2461042.jpg","118.5x38.9",[124],{"id":15738,"slug":15739,"title":15740,"dynasty":54,"author":12819,"museum":167,"description":15741,"tags":15742,"thumbUrl":15743,"material":78,"size":15744,"collection":124,"collections":15745,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":49},219255,"rui-xue-ning-dong-tu-wang-e-219255","瑞雪凝冬图","高山巨石以及山下的庭院和山上的寺庙都由硬笔画出，冷峭逼人。山下远水高阔，船帆点点，落墨不多衬托了整幅绘画的冷寒的意境。",[23,24,475,28,29,59,341,747,7,62,32,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dea2d2d24f34262242f7d5fcc48b26e.jpg","139.6厘米* 91.5厘米",[124],{"id":15747,"slug":15748,"title":15749,"dynasty":18,"author":434,"museum":167,"description":15750,"tags":15751,"thumbUrl":15752,"material":78,"size":15753,"collection":124,"collections":15754,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":49},218990,"he-ting-xiao-xia-tu-yi-ming-218990","荷亭销夏图","画面描绘了岩石岬角上的一组树木，两棵松树站在树根上，其技术叶子在树荫下。在阴凉处，靠悬崖建了一个亭子，并通过走廊与水亭相连。亭子外面，波光粼粼，水面被荷叶包围。在湖中央的长堤上，孩子们的仆人带着他们的扇子和乐器走动。在岩石坡上摇曳的箭与湖光山色形成鲜明对比，使这幅画充满了迷人的夏日气氛 这是《名画珍品》画册的第五幅，没有作者的标记。笔法是李唐派的，近景的石坡、山石、树木，中景的山峰，都有李郭派的影子。这位艺术家可能是歌曲中间的一位画家。",[23,24,25,30,28,59,118,116,7,62,117,1290,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d1d0e4dbebe940bae02aa72bb50e4c.jpg","24.5x25.4",[124],{"id":15756,"slug":15757,"title":15758,"dynasty":18,"author":434,"museum":167,"description":15759,"tags":15760,"thumbUrl":15761,"material":78,"size":15762,"collection":124,"collections":15763,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":49},218813,"guan-shan-xing-lv-tu-yi-ming-218813","关山行旅图","画的是关山高远的山峰和秋天的悲凉森林，一个骑着毛驴的学子正在过一座小桥。这幅画没有标记，有两个虞姬的符号，考虑到其解体时使用的笔法，可能是元代的作品。",[23,24,25,114,28,30,118,426,61,7,117,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b596fb7fe0dbb2cec842c835d50fd6a.jpg","26.7x27.8",[124],{"id":15765,"slug":15766,"title":15767,"dynasty":223,"author":434,"museum":167,"description":15768,"tags":15769,"thumbUrl":15773,"material":78,"size":179,"collection":124,"collections":15774,"showCount":15439,"zanCount":48,"manualWeight":48,"mainColor":128},214618,"yu-ti-mian-hua-tu-ce-dan-hua-yi-ming-214618","御题棉花图册-弹花","御题棉花图册是一本清代的册页艺术作品，其中包含了一系列用棉花制作的图案。这本册子是在皇帝的指示下制作的，因此被称为“御题”，意思是“皇帝指示”。\n\n这本册子是在清代早期制作的，具体时间不详。它由多位艺术家共同创作，但是由于当时记录不够完整，我们无法确定具体的作者名字。\n\n这本册子的图案涵盖了许多不同的主题，包括自然景观、动物、人物以及传统的中国图案。所有的图案都是用棉花制作的，并且由多种颜色组成。这种艺术技巧叫做“棉花画”，是一种古老而传统的中国艺术形式。\n\n御题棉花图册是一件非常珍贵的艺术品，因为它是清代皇帝的御制作品，并且因为棉花画技巧的稀罕性而具有极高的收藏价值。如果你有机会看到这本册子，一定要好好欣赏它的精美图案和精湛的艺术技巧。",[24,28,29,385,119,120,61,35,7,15770,15771,15772],"田地","工具","弹花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33edd5a769c0f5c1f335b8b6bcdd6019.jpg",[124],{"id":15776,"slug":15777,"title":15778,"dynasty":133,"author":355,"museum":459,"description":1960,"tags":15779,"thumbUrl":15781,"material":808,"size":809,"collection":179,"collections":15782,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":49},290443,"qiu-shan-xiao-si-tu-ke-luo-ban-wang-meng-290443","秋山萧寺图（珂罗版）",[23,24,152,202,114,30,118,15780,7,117,13445,61,63,64],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6306fac2462b33c54d40c1d51cfe94.jpg",[],32,{"id":15785,"slug":15786,"title":15787,"dynasty":223,"author":4818,"museum":459,"description":7631,"tags":15788,"thumbUrl":15790,"material":808,"size":809,"collection":179,"collections":15791,"showCount":15783,"zanCount":928,"manualWeight":48,"mainColor":128},289902,"xu-ri-dong-sheng-tu-zhou-wu-chang-shuo-289902","旭日东升图轴",[23,152,24,202,114,28,30,15789,117,7,64,63,119,153],"旭日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65e6d2f8218f3eddaa72aa0e1894bdb.jpg",[],{"id":15793,"slug":15794,"title":6821,"dynasty":18,"author":575,"museum":459,"description":15795,"tags":15796,"thumbUrl":15798,"material":808,"size":809,"collection":179,"collections":15799,"showCount":15783,"zanCount":928,"manualWeight":48,"mainColor":49},289379,"diao-tai-wang-yun-tu-ma-yuan-289379","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[24,475,59,114,118,62,15797,500,37,7,153],"高台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c98950ab3cd210300a80beee13ca05.jpg",[],{"id":15801,"slug":15802,"title":15803,"dynasty":223,"author":9866,"museum":459,"description":11050,"tags":15804,"thumbUrl":15805,"material":808,"size":809,"collection":179,"collections":15806,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},288452,"fu-yang-da-ling-tu-zhu-da-288452","富阳大岭图",[23,24,25,114,30,118,477,1705,7,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8e6667484c88095860699a15fea24f.jpg",[],{"id":15808,"slug":15809,"title":15810,"dynasty":223,"author":9866,"museum":459,"description":11050,"tags":15811,"thumbUrl":15812,"material":808,"size":809,"collection":179,"collections":15813,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},288172,"fang-guo-shu-shan-shui-tu-zhou-zhu-da-288172","仿郭恕山水图轴",[23,24,25,202,114,118,60,30,117,7,116,153,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50eb3a950ce4abfb78da77a089adc40.jpg",[],{"id":15815,"slug":15816,"title":15817,"dynasty":223,"author":11448,"museum":459,"description":15818,"tags":15819,"thumbUrl":15820,"material":808,"size":809,"collection":179,"collections":15821,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},287873,"qing-ming-shang-he-tu-juan-shen-yuan-287873","清明上河图卷","沈源[清]字恰亭，上海人。精科医，工铁笔，善画兰。代表作有《海上墨林》。",[152,24,25,26,29,28,59,61,62,788,1459,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c46e55aac8d937ca2cfc4e29bcce68.jpg",[],{"id":15823,"slug":15824,"title":15825,"dynasty":223,"author":381,"museum":459,"description":1590,"tags":15826,"thumbUrl":15828,"material":808,"size":809,"collection":179,"collections":15829,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},287350,"min-jiang-chun-se-tu-shi-tao-287350","岷江春色图",[23,24,25,475,114,28,118,243,7,1705,115,119,120,153,15827],"春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff493d294fe1e9a424e15c0a58ebbf15b.jpg",[],{"id":15831,"slug":15832,"title":15833,"dynasty":223,"author":3937,"museum":459,"description":15834,"tags":15835,"thumbUrl":15836,"material":179,"size":15837,"collection":179,"collections":15838,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},238031,"hong-ren-shan-shui-tu-ce-hong-ren-238031","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[24,114,118,385,30,7,35,500,289,2395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9144a0928789c773384316cc6493a3d6.jpg","50×36",[],{"id":15840,"slug":15841,"title":15842,"dynasty":223,"author":2792,"museum":459,"description":6801,"tags":15843,"thumbUrl":15844,"material":179,"size":179,"collection":124,"collections":15845,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},237885,"xia-shan-ji-yu-zhou-wang-hui-237885","夏山积雨轴",[24,114,118,202,30,117,7,64,63,35,204,25,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2045788a394058a03f535c7e71d29f.jpg",[124],{"id":15847,"slug":15848,"title":15849,"dynasty":54,"author":4131,"museum":20,"description":15850,"tags":15851,"thumbUrl":15852,"material":360,"size":15853,"collection":124,"collections":15854,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":49},237436,"bi-shu-qing-bo-zhou-wen-jia-237436","碧树晴波轴","文嘉（1501年～1583），字休承，號文水，南直隸蘇州府長洲（今江蘇蘇州）人。大書畫家文徵明次子。\n吳門派代表畫家。初為烏程訓導，後為和州學正。\n能詩，工書，小楷清勁，亦善行書。精於鑑別古書畫，工石刻，為明一代之冠。畫得徵明一體，善畫山水，筆法清脆，頗近倪瓚，着色山水具幽澹之致，間仿王蒙皴染，亦頗秀潤，兼作花卉。明人王世貞評：“其書不能如兄，而畫得待詔（文徵明）一體。”詹景鳳亦云：“嘉小楷輕清勁爽，宛如瘦鶴，稍大便疏散不結束，徑寸行書亦然，皆不逮父。”",[24,25,202,114,118,912,30,7,116,11755,117,994,500,674,8276,540,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 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cm",[124],{"id":15856,"slug":15857,"title":15858,"dynasty":223,"author":15859,"museum":459,"description":15860,"tags":15861,"thumbUrl":15862,"material":179,"size":179,"collection":124,"collections":15863,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},237161,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237161","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[24,25,385,27,28,30,7,204,117,37,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4603652ccdb32e3cecd134127efbb3b3.jpg",[124,45],{"id":15865,"slug":15866,"title":6416,"dynasty":223,"author":647,"museum":459,"description":15867,"tags":15868,"thumbUrl":15869,"material":179,"size":179,"collection":124,"collections":15870,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},236389,"fang-dong-qi-chang-shan-shui-zhou-wang-yuan-qi-236389","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」\n见《清史稿》、秦祖永《桐荫论画》。",[24,25,202,114,118,60,153,30,117,7,35,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132a1aa86a2afd0d9dbcc643e59524.jpg",[124,103],{"id":15872,"slug":15873,"title":15874,"dynasty":223,"author":434,"museum":20,"description":15875,"tags":15876,"thumbUrl":15877,"material":40,"size":15878,"collection":124,"collections":15879,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},236177,"hong-li-she-tu-tu-zhou-yi-ming-236177","弘历射兔图轴","乾隆作为以畜牧、游猎为主 的满族人后裔，严格遵守满清骑 射尚武典制。他通过带游乐性质 的狩猎活动，将满人弯弓射箭的 传统习俗发扬光大。为了弘扬这 种尚武精神，乾隆谕令宫廷西洋 画师郎世宁以及中国宫廷画家 创作了数十幅专门表现他行围 狩猎的画作，真实记录了乾隆在 不同历史时期的狩猎情景。此图 便是表现他射兔的作品。",[24,29,28,30,61,90,117,7,204,118,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64335c000347f96a1ea2e26f054d053.jpg","纵 258 厘米，横 172 厘",[124,45],{"id":15881,"slug":15882,"title":15883,"dynasty":223,"author":15884,"museum":459,"description":15885,"tags":15886,"thumbUrl":15887,"material":808,"size":809,"collection":179,"collections":15888,"showCount":15783,"zanCount":928,"manualWeight":48,"mainColor":128},235282,"ren-wu-gu-shi-ce-fan-xue-yi-235282","人物故事册","范雪仪","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,28,29,59,61,62,156,7,37,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F652a5897903630ea1f074609fb94805f.jpg",[],{"id":15890,"slug":15891,"title":15892,"dynasty":223,"author":647,"museum":20,"description":15893,"tags":15894,"thumbUrl":15895,"material":506,"size":179,"collection":179,"collections":15896,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},234235,"xi-hu-tu-juan-wang-yuan-qi-234235","西湖图卷","王原祁（1642—1715）作为名列“四王”之一的“娄东派”领袖，他的山水画在有清一代赢得了无比崇高的声誉，不仅左右了宫廷的山水画风，也成为有清一代文人山水画坛的主流势力。王原祁一生绘制过的西湖图似乎并不多，除了《石渠宝笈》中著录有3幅他的西湖图，其它的记载中并不能找到相关的材料，而实物的流传则更属罕觏。西湖图在王原祁自身的绘画实践中或许并不占有重要的地位。然而在他的西湖图中却显现了某些令人惊异的转变，或许正是这些转变导致了以后西湖图创作的困境。\n《石渠宝笈》著录的三幅王原祁西湖图分别为《西湖图轴》、《西湖十景图卷》以及另一种《西湖十景图卷》，这三幅奉敕应制的作品均只有王原祁本人简单的署衔，而没有标明确切的创作年代。\n据温肇桐《王原祁年表》，可知王原祁升翰林院侍讲学士的时间为康熙四十四年（1705）七月，其年六十四；而充日讲官的时间则是康熙四十七年（1708）四月，其年已六十七矣。至于其由翰林院侍讲学士升转为侍读学士的时间，当在康熙四十七年（1708）二月《佩文斋书画谱》成书之前，因为书中纂辑官员的署衔已标明为“翰林院侍讲学士今转翰林院侍读学士臣王原祁”，可知成书时他已经是侍读学士了。如此，则《西湖图轴》应属其六十四至六十七岁之间所绘，而另两卷十景图则更是六十七岁之后的作品了，无疑都属王原祁在世最后10年间的晚期作品。\n《石渠宝笈》著录的着色《西湖十景图卷》，现今收藏于辽宁省博物馆。这是一件高头大卷，画面从钱塘门开始，将绕西湖一周的景物以长卷的形式向左作平面的伸展，最后结束于涌金门外的问水亭。除了康熙帝钦定的西湖十景在图中有明确的文字标识之外，其它的西湖著名景物也包括其中并标以景点名称。对比清代雍正年间刊刻的《浙江通志》中所附的《西湖图》插图，除了呈现方式有所不同，在描绘的具体景物方面，二图并无大的差异。因此《西湖十景图卷》显然并非出自王原祁的想象臆造而是和《西湖图》插图一样具有实景地图的性质。\n王原祁的家乡是江苏太仓，距离杭州并不算远，他也曾经游历过西湖。清代厉鹗所纂《增修云林寺志》卷六收有王原祁《游韬光，赠山止上人》一诗，然而却并未提到他留有画作，至于具体的游杭时间及其行程更是不得而知了。康熙帝五次巡杭，也没有任何有关王原祁曾经扈驾侍行的记载。所以如果不是旧游时曾经绘制过西湖图的详细画稿，那么王原祁必定是在绘制时参考了《西湖图》之类的实景地图或是他人的画稿，显然以后者的可能性为大。\n作为王原祁这样的文人画宗师，他显然不能容忍自己的画作完全沦为一幅实景地图，所以为了与通常所见的实景地图拉开距离，《西湖十景图卷》在构图上颇费了一番经营，将西湖一周的山水景物特意作平面的延伸，而不是带有实景地图意味的环绕铺陈，画面的下方呈现出大块象征西湖湖水的留白，因此使之更具传统山水画的意蕴。然而细观这卷以黄公望画风为旨归的画作，它与王原祁通常所作的那类文人山水画作的差异无疑还是十分明显的：为了要精确呈现包括西湖十景在内的众多具体的山水景物，无法遗漏或削弱对其中一些景物的描绘，使得王原祁在描绘时，不得不给这些景物以一律的关注，其结果使得全卷呈现出毫无变化的平铺直叙，山峦与树木描绘的节奏也大体相似，完全失去了传统文人山水画在主观营造上的丰富变化。\n事实上，王原祁在山水画的结构方面有极深的研究，这本是他的特长。他在《雨窗漫笔》“论画十则”中对于山水画的结构经营有过一段极为经典的论述：“画中龙脉开合起伏，古法虽备，未经标出，石谷阐明，后学知所矜式。然愚意以为不参‘体用’二字，学者终无入手处。龙脉为画中气势源头，有斜有正，有浑有碎，有断有续，有隐有现，谓之体也……若知有龙脉，而不辨开合起伏，必至拘索失势，知有开合起伏而不本龙脉，是谓顾子失母。故强扭龙脉则生病；开合偪寒浅露则生病；起伏呆重缺漏则生病。且通幅有开合，分股中亦有开合；通幅有起伏，分股中亦有起伏，尤妙在过接映带间，制其有余补其不足，使龙之斜正、浑碎、隐现、断续，活泼泼地于其中，方为真画！如能从此参透，小块积成大块焉，有不臻妙境者乎？”这是借用堪舆学的名词来阐述的文人山水画结构法则，是王原祁通过从长期的绘画实践，从文人山水画体系中总结、提炼出来的规律性因素，它源于自然山水，但又高于自然山水，一旦违背，就会产生各种山水画之“病”。\n如果我们对比王原祁晚年自由状况下描绘的画作，与《西湖十景图》的差异将会十分明显：如辽宁省博物馆收藏的《西岭云霞》作于康熙庚寅（1710），绘制时间与《西湖十景图》（1708年后）大致相近，而且也是王原祁仿黄公望一路的画作。\n只要稍加浏览，就可以发现后图与《西湖十景图》在结构上的巨大差别：后图的山势开合、大小起伏变化多端，丘壑形象丰富生动；而《西湖十景图》山体的开合起伏极不明晰，山峦的大小起伏大体相近，完全没有体现出“宾主历然”的形态，可见为了屈从于对画面实景因素的呈现，王原祁不得不违背了他所总结并且强调要遵行的那一套结构法则。而同样的原因，最终也导致了王原祁在《西湖十景图》表现上的个性风格的削弱与丧失：后图中王原祁极具个性化的层层叠加的山石形象十分明显，这正是他建立的与“龙脉”理论相适应的个人图式。同时在表现这些个性化的图式时，其笔墨的运用随意生动，气势贯通，因而显得变化多端而混沦苍茫，显然描绘时处于较为自由的状态。而在《西湖十景图》中，为了使这幅画图具备可供康熙帝参考的实景特色，王原祁只能牺牲他一贯遵循的传统文人山水画的结构理念，不得不削弱了他个人丰富的笔墨表现，他所强调的“山水画用笔须毛”和自许的“笔端有金刚杵”的精醇笔墨在图中并没有得到充分的展现，大都显得小心翼翼而刻画平板，只是在开头与结尾几笔不涉及具体景物的云水勾勒中，才偶尔显示了他高超的笔墨造诣。\n严格地说，此卷应制的《西湖十景图》并不能符合王原祁自己所说的“活泼泼地”“真画”的要求，它虽然保留了文人画的表面因素，却被抽离了独立的价值。然而它与王原祁自由描绘的文人山水画之间的巨大差异，倒恰恰说明了他的高超之处，他在主体的文人山水画上达到的高度，足以使后人仰止。只是类似《西湖十景图》这样走入误区的文人画式的应制画作，由于具备更多的实用性与可操作性，却更多被王原祁的弟子或再传弟子们加以继承与奉行，而这恐怕并非是王原祁的本意。",[23,24,26,114,118,30,243,33,32,7,66,676,62,63,488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e6647336c88be860bc28ce6086696.jpg",[],{"id":15898,"slug":15899,"title":15900,"dynasty":223,"author":8430,"museum":20,"description":15901,"tags":15902,"thumbUrl":15903,"material":415,"size":15904,"collection":179,"collections":15905,"showCount":15783,"zanCount":928,"manualWeight":48,"mainColor":49},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[23,24,25,26,28,27,29,118,30,154,64,63,115,61,7,37,358,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":15907,"slug":15908,"title":15909,"dynasty":133,"author":434,"museum":20,"description":15910,"tags":15911,"thumbUrl":15912,"material":7925,"size":15913,"collection":179,"collections":15914,"showCount":15783,"zanCount":928,"manualWeight":48,"mainColor":49},233151,"fang-guo-xi-shan-shui-tu-zhou-yi-ming-233151","仿郭熙山水图轴","图中绘层岩叠嶂，长松老树，古寺平溪，小桥行旅，可游可居。此图为大幅山水，构图高远、深远兼用，山如卷云，树似鹰爪，画风学郭熙一派而又有元人的逸趣。",[24,25,202,30,60,118,114,28,243,7,578,579,244,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919679436fe80731b835e0f45b649784.jpg","纵164厘米横105.3厘米",[],{"id":15916,"slug":15917,"title":15918,"dynasty":54,"author":2636,"museum":20,"description":15919,"tags":15920,"thumbUrl":15921,"material":15512,"size":15922,"collection":124,"collections":15923,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},233133,"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-shi-hu-tu-ye-wen-zheng-ming-233133","明人西山胜景合壁册-文徵明石湖图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,25,385,114,30,117,7,115,6851,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7401370fa8da2f24b34abe414e0b35f.jpg","纵22.8cm，横33.2cm",[124,45],{"id":15925,"slug":15926,"title":15927,"dynasty":18,"author":15928,"museum":20,"description":15929,"tags":15930,"thumbUrl":15931,"material":140,"size":15932,"collection":179,"collections":15933,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},232993,"nan-tang-wen-hui-tu-ye-zhao-chang-232993","南唐文会图页","赵昌","《南唐文会图》为宋人作品。无款。裱边题签“赵昌南唐文会”。对幅乾隆御笔题诗：“南唐虽僻立，亦自尚文规。簪佩徜徉处，图书左右披。东瀛前拟法，西雅后开师。位置增精密，晩年还蜀为。”\n图绘南唐文士聚会场面。园林中绿树葱茏，芭蕉成林，中设一大案，数位文人雅士围于案旁，又有婢女仆从侍立在旁。",[24,25,385,28,29,30,61,7,116,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62beb2752eec01d037f48c6dd6e055ad.jpg","30.4X29.6cm",[],{"id":15935,"slug":15936,"title":15937,"dynasty":18,"author":434,"museum":20,"description":6309,"tags":15938,"thumbUrl":15939,"material":40,"size":7065,"collection":179,"collections":15940,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":49},232880,"sou-shan-tu-yi-ming-232880","搜山图",[23,152,24,26,29,28,61,1855,4537,30,7,244,156,1124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401df44a2b2e19ed21e9557d2cba183.jpg",[],{"id":15942,"slug":15943,"title":15944,"dynasty":133,"author":15945,"museum":459,"description":15946,"tags":15947,"thumbUrl":15950,"material":140,"size":15951,"collection":179,"collections":15952,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":49},232636,"jin-ji-tu-li-zhou-chen-lin-232636","锦鸡图立轴","陈琳","陈琳，（生卒年不详），字仲美，钱塘（今浙江杭州）人。南宋画院待诏珏子，琳世其叶。善画花鸟、山水、人物\n陈琳得赵孟頫指授，多所资益，故其画不俗，尤善临摹古迹。\n陈琳存世花鸟画仅有一件，即《溪凫图》（台北故宫博物院），作于大德五年(1301)，是在赵孟頫松雪斋中画成的。画中有赵孟頫的润饰和题字，称这幅画为陈琳的游戏笔墨，推重备至。作品特色鲜明，工笔略带写意，粗细兼用，笔墨潇洒流畅，浓淡墨色富于变化，形象生动，风格古朴，具有文人水墨写意画的韵致。这幅画既反映了陈琳的绘画特色，也代表了元代花鸟画嬗变的时代特征。陈琳还有山水画传世，如《秋山行旅图》、《苍崖古树图》等，都属于水墨写意画法。",[23,24,202,28,29,171,540,15948,5134,7,591,117,15949,1192],"锦鸡","元代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a7d3753eac78e2098c6e0fef1789f7.jpg","117x70厘米",[],{"id":15954,"slug":15955,"title":7854,"dynasty":54,"author":8637,"museum":459,"description":15956,"tags":15957,"thumbUrl":15958,"material":179,"size":15959,"collection":179,"collections":15960,"showCount":15783,"zanCount":928,"manualWeight":48,"mainColor":49},231948,"tao-yuan-tu-shi-rui-231948","石锐（？－15世纪），字以明，钱塘（今浙江省杭州市）人，明代宫廷画家。宣德年间（1426年－1435年）进入宫廷，在仁智殿担任待诏，1469年仍活跃于画院。其画得盛懋之法，备极华整。金碧山水、界画楼台及人物，皆傅色鲜明温润，尤擅长画青绿与金碧山水，名著于时。",[23,24,475,28,118,117,7,69,64,154,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f18009ef0602e849b71eadcf06a50f.jpg","24.7x22.15 厘米",[],{"id":15962,"slug":15963,"title":15964,"dynasty":223,"author":1998,"museum":459,"description":15965,"tags":15966,"thumbUrl":15967,"material":179,"size":179,"collection":179,"collections":15968,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":49},230157,"jiu-cheng-gong-tu-yuan-yao-230157","九成宫图","画作取高远、平远兼融的构图，上部巨岩拔地凌天，淡墨晕染出缭绕云气，晕开虚渺空濛的高远之境。山腰层楼叠宇依岩临渊，界画笔法工细匀整，飞檐翘角尽显宫阙的雄丽精巧。\n\n近景苍松虬曲蓊郁，临水方亭伴岸而立，板桥卧波轻连汀渚，淡墨铺陈出水岸的悠远空寂。山石兼工带写，斧劈皴间晕染烟岚，墨色干湿浓淡铺陈出山水层次虚实，将人工匠造融于天地山水间，尽显楼阁山水的明秀壮逸，把宫苑恢宏与山水灵秀相融，意境清逸悠长。",[23,24,202,59,28,30,62,116,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29d96974242735cfd79368fbee845cd.jpg",[],{"id":15970,"slug":15971,"title":15972,"dynasty":223,"author":381,"museum":459,"description":15973,"tags":15974,"thumbUrl":15975,"material":179,"size":179,"collection":179,"collections":15976,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},228986,"yuan-ming-shi-yi-ce-ye-shi-tao-228986","渊明诗意册页","《陶渊明诗意图》是清代石涛创作的纸本设色画册。\n本图册是作者根据东晋著名诗人陶渊明诗句而创作。\n陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。\n绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。\n他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。\n石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。\n画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。\n此图结构精巧，人物用笔细密。\n远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。\n这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。\n老者远望青山，脚下溪水流淌。\n面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。\n画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。\n构图采用一水两岸的自然分疆法。\n画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。\n树木用水墨渍出，以衬托山腰白云的动感。\n石涛（1642年－178年），清初画家，原姓朱，名若极，明靖江王朱赞仪的十世孙， 的长子。\n广西桂林人，祖籍安徽凤阳，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。\n与 、 、 合称“清初四僧”。\n早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。\n工书法，能诗文。\n存世作品有《搜尽奇峰打草稿图》、《 》、《竹石图》、《 》等。",[24,25,385,28,118,120,30,35,7,2113,61,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2d3809eadb6e757b646a89b366f1d6.jpg",[],{"id":15978,"slug":15979,"title":3071,"dynasty":54,"author":4230,"museum":459,"description":15980,"tags":15981,"thumbUrl":15982,"material":808,"size":809,"collection":179,"collections":15983,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},228849,"chang-jiang-wan-li-tu-juan-dai-jin-228849","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[23,152,24,25,26,119,114,28,118,475,30,2715,243,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb170268d39be31976855cdc36e4345d4.jpg",[],{"id":15985,"slug":15986,"title":15987,"dynasty":54,"author":55,"museum":459,"description":15988,"tags":15989,"thumbUrl":15990,"material":179,"size":179,"collection":179,"collections":15991,"showCount":15783,"zanCount":928,"manualWeight":48,"mainColor":49},228454,"shou-lie-tu-ye-chou-ying-228454","狩猎图页","平沙莽莽，疏枝斜挑天际，尽显荒寒萧索。虬髯猎手身着劲装，背负箭囊，俯身控马急驰，目光如炬锁向前方奔逃的猎物，满屏皆是紧绷的狩猎张力。\n\n画师以劲挺利落的铁线描勾勒人马身形，沉凝的绢底晕染出辽远荒滩，淡墨轻扫便将塞外旷野的空寂铺陈开来。猎手的剽悍果决与猎物的仓皇奔窜形成强烈对冲，动静之间，将北地游猎的飒爽快意尽数渲染，笔简意足，苍劲疏朗的野趣扑面而来，把刹那间的狩猎定格成永恒的生动画卷。",[24,152,25,385,29,28,61,90,1855,7,10732],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8084374c281962b0ebac2a54ed35c49.jpg",[],{"id":15993,"slug":15994,"title":15995,"dynasty":54,"author":4888,"museum":459,"description":15996,"tags":15997,"thumbUrl":15998,"material":179,"size":179,"collection":179,"collections":15999,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":1138},228260,"xi-shan-tu-xu-ben-228260","溪山图","此作画风承接元人山水余韵，以全景式构图铺展溪山胜境。层叠山峦以披麻皴写就，笔墨苍秀清润，尽显山石纹理质感与巍峨气势。山岩裂隙间飞泉垂落，添得山林灵动生机。山脚林木蓊郁，村居错落掩映于树荫之下，茅舍俨然，勾勒出幽寂恬然的山居意趣。\n\n画面上方题跋错落排布，书画相映成趣，晕染出文雅沉静的氛围。整作墨色层次丰富，勾勒点染间尽显静穆淡远的隐逸之美，将江南溪山的温润灵秀，与文人栖居的闲雅意致相融无间，格调萧散淡远，尽显文人山水的清雅风神。",[23,24,25,202,114,118,30,117,7,206,116,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c87a9d67988fc66837c4291b05d87c3.jpg",[],{"id":16001,"slug":16002,"title":16003,"dynasty":133,"author":6001,"museum":167,"description":16004,"tags":16005,"thumbUrl":16006,"material":177,"size":16007,"collection":179,"collections":16008,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":49},228071,"yue-yang-lou-tu-xia-yong-228071","岳阳楼图","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何着笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[24,152,25,59,437,62,30,61,117,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a48c01606623521039e6e1df769255.jpg","纵24.4厘米，横26.2厘米",[],{"id":16010,"slug":16011,"title":16012,"dynasty":133,"author":4160,"museum":459,"description":16013,"tags":16014,"thumbUrl":16015,"material":179,"size":179,"collection":179,"collections":16016,"showCount":15783,"zanCount":928,"manualWeight":48,"mainColor":49},228043,"fan-zhou-tu-ye-sheng-mao-228043","泛舟图页","层岩峻拔耸峙，细密皴笔勾勒出山石嶙峋肌理，峰巅林木点染，翻涌云气半掩山峦，晕开缥缈出尘的幽远意境。下方碧波湍流，古松虬曲苍劲，旁生花树缀满淡蓝繁花，为幽寂晕开一抹清润生机。\n\n扁舟之上，隐者凭舷闲坐，纵览烟霞林泉。全作设色清雅古拙，构图疏密得宜，将山海林泉的静穆幽远，与幽人悠游林下的自在相融，以景托志，尽显尚意抒情的特质，绘出超脱世俗的林下风流。",[23,24,25,28,114,30,115,64,61,540,117,29,73,13075,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279077b856a63fb919bda2ad8a79d75b.jpg",[],{"id":16018,"slug":16019,"title":16020,"dynasty":133,"author":15545,"museum":459,"description":16021,"tags":16022,"thumbUrl":16024,"material":179,"size":179,"collection":179,"collections":16025,"showCount":15783,"zanCount":928,"manualWeight":48,"mainColor":128},228037,"mo-lou-shu-geng-zuo-tu-chang-juan-cheng-qi-228037","摹楼璹耕作图（长卷）","此作以长卷铺陈田家岁时劳作全程，从垦壤播种到刈获登场，每段农事场景鲜活写实，农人的动作、形制各异的农具、田陇桑野的细节皆一一细致摹绘，还原出耕织劳作的质朴烟火。笔墨兼具宋画的精工写实，又暗含元人淡和的写意韵致。卷上题跋鉴印层层累叠，带着历代递藏的厚重脉络，将田家稼穑的日常，与文人题咏的雅致融于一卷，既是记录古代农桑的图像实录，也是承载着鉴藏史迹的书画珍存。",[23,24,25,26,60,28,29,119,153,61,91,13763,5232,15770,7,64,16023,63],"稻禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c64d15f526a4ae7c823223adca9895.jpg",[],{"id":16027,"slug":16028,"title":16029,"dynasty":133,"author":6534,"museum":459,"description":16030,"tags":16031,"thumbUrl":16032,"material":179,"size":179,"collection":179,"collections":16033,"showCount":15783,"zanCount":928,"manualWeight":48,"mainColor":49},227989,"qiu-shan-mu-ai-tu-juan-gao-ke-gong-227989","秋山暮霭图卷","以淡墨晕染峰峦，烟岚轻笼岫影，虚实相生间铺展秋日山野的空寂萧疏。近岸苍林错落，村居隐于枝桠间，秋水如镜，映带平远野色，将暮霭沉沉的静谧秋意晕开。\n画作以干湿互用的墨色写就，山峦以淡墨披麻皴辅以晕染，弱化嶙峋棱角，尽显温润秀雅。留白处化作流岚晓雾，将远峰近林织就朦胧诗境。右上角题诗与朱印错落，书画印相映成趣，添就文雅书卷气，将秋山暮时的澹远空寂，融在水墨氤氲里，尽显文人寄情丘壑的写意幽远之致。",[23,152,24,25,26,114,118,30,341,7,37,1390,1300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37365464f0d1bde1301c29f462bf7cdc.jpg",[],{"id":16035,"slug":16036,"title":16037,"dynasty":18,"author":434,"museum":459,"description":16038,"tags":16039,"thumbUrl":16040,"material":179,"size":179,"collection":179,"collections":16041,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":1138},227934,"qing-shan-bai-yun-tu-yi-ming-227934","青山白云图","近岸苍松虬曲古雅，枝桠探向水面，滩石错落，静水无波晕染出空濛雾气。远山隐现于烟岚之中，以淡墨轻擦出朦胧山形，留白托出云气舒卷的清旷。\n\n画侧题诗与山水呼应，行书隽秀飘逸，以诗点题，将青山朝暮、白云青松的幽寂山居铺陈在尺幅团扇间。墨色温雅清润，寥寥数笔便勾勒出世外林泉的闲逸意趣，尽显以小见大、诗画合璧的雅致审美，把文人心中的栖居理想藏在淡墨烟霞里。",[23,24,25,2895,30,114,118,7474,4114,540,7,117,37,2316,156,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c120fff0efbccec8c077e1732729a70.jpg",[],{"id":16043,"slug":16044,"title":7884,"dynasty":18,"author":16045,"museum":459,"description":16046,"tags":16047,"thumbUrl":16048,"material":179,"size":179,"collection":179,"collections":16049,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":49},227684,"hu-shan-chun-xiao-tu-chen-qing-bo-227684","陈清波","《湖山春晓图》页，南宋，陈清波绘，绢本，设色，纵25厘米，横26.7厘米。\n\n本幅款署：“乙未陈清波。”钤收藏印“庞莱臣珍藏宋元真迹”一方。庞元济《虚斋名画录》著录。\n\n此页以平远之法绘春山平湖。湖堤一边是掩映在绿树丛中的深院崇楼，湖对岸小路上一人骑马远行，执鞭回望崇楼，二仆负伞荷担相随，湖阔天高，远山一带。画中人物是踏青，是出行，是省亲，是远宦，耐人寻味。楼阁虽以粗笔画出，但飞檐户牖洗练而不失准确。简括明了的线条、大片空白的院体格式与清新淡雅的色调使画面在含蓄蕴藉之中充满了春天的明媚。",[23,24,2895,28,30,62,7,61,90,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8ca390799c21fee010089df993fbc2.jpg",[],{"id":16051,"slug":16052,"title":16053,"dynasty":990,"author":434,"museum":5990,"description":11274,"tags":16054,"thumbUrl":16063,"material":808,"size":809,"collection":179,"collections":16064,"showCount":15783,"zanCount":928,"manualWeight":48,"mainColor":128},226183,"ku-zhu-shi-nan-pi-yi-ming-226183","窟主室南披",[16055,3402,923,28,29,11277,61,30,62,7,676,16056,16057,69,16058,16059,12030,27,16060,16061,16062],"唐代","云纹","波浪纹","供养人","佛像","彩绘","勾勒","填色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aa03b4a0dba7372ea34789086e63b7d.jpg",[],{"id":16066,"slug":16067,"title":16068,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":16069,"thumbUrl":16074,"material":808,"size":809,"collection":3244,"collections":16075,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},226082,"the-magpie-1869-mo-nai-226082","The Magpie, 1869",[7526,3239,7419,818,7,35,5371,7778,3148,16070,16071,16072,16073],"雪覆屋顶","木栅栏","雪地小径","树木枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0824463157f0fab1ae34a57a4aa1805b.jpg",[3244],{"id":16077,"slug":16078,"title":16079,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":16080,"thumbUrl":16082,"material":808,"size":809,"collection":3244,"collections":16083,"showCount":15783,"zanCount":928,"manualWeight":48,"mainColor":985},225961,"jeanne-marguerite-lecadre-in-the-garden-1866-mo-nai-225961","Jeanne-Marguerite Lecadre in the Garden, 1866",[3239,7526,152,8252,16081,591,7,7419,8259],"女性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F773ce0e8bd935e0c49d0bd241b4e2739.jpg",[3244],{"id":16085,"slug":16086,"title":16087,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":16088,"thumbUrl":16093,"material":808,"size":809,"collection":3244,"collections":16094,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},225781,"montmartre-windmills-and-allotments-march-april-fan-gao-225781","Montmartre windmills and allotments (March - April 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Clichy",[152,3239,28,3240,16100,89,5148,64,7,16101,639,61,2336],"渔夫","黄叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8c3f712674167c7884bf0e358d5cee.jpg",[3244],{"id":16105,"slug":16106,"title":16107,"dynasty":223,"author":16108,"museum":459,"description":16109,"tags":16110,"thumbUrl":16111,"material":40,"size":16112,"collection":45,"collections":16113,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":49},224539,"xie-qin-you-shan-tu-zhang-gu-224539","携琴游山图","章谷","绘山峰险峻，山中松柏高大遒劲，山涧中一道清流顺山而下，数座房屋隐现于山中，山脚溪流奔腾不息，山路上一童子手抱古琴紧随一老者前行。章谷，清代善画山水和人物肖像，书法工篆、隶书",[23,24,25,152,202,30,118,114,117,540,204,35,116,7,63,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddea37d7d189707368095454cc36c726.jpg","纵211.7CM 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高克明的山水畫創作，大多是從實地觀察獲得素材，復經自己深思熟慮、苦心經營中得來，並不專師於一家，卻能注意採擷諸家之美，參成一藝之精，自為體格，頗有創新的味道。",[152,24,25,385,28,118,120,30,528,1390,3987,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e07ca6685ec8381313e4987a95af081.jpg","30.2x31.8厘米",[42,124,103],{"id":16211,"slug":16212,"title":16213,"dynasty":223,"author":2076,"museum":167,"description":16214,"tags":16215,"thumbUrl":16217,"material":122,"size":16218,"collection":44,"collections":16219,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},220439,"er-xian-tu-feng-ning-220439","二仙图","冯宁，生死时年、籍贯均不详。高宗乾隆时，任职内廷画院供奉，擅长于人物画，画法似是出自明代浙派吴伟一路，用笔慓劲，衣服褶纹采取破笔粗线描法，水墨恣肆，墨气淋漓，画面充分给人一种力的感觉。画中二仙，似为八仙中的钟汉离、铁拐李二人。",[24,25,152,202,28,29,61,7,117,16216,5407,7567],"葫芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461871e343739280aea5bb0310803e26.jpg","173.5x68.9公分",[44,45],{"id":16221,"slug":16222,"title":2189,"dynasty":54,"author":110,"museum":423,"description":16223,"tags":16224,"thumbUrl":16225,"material":303,"size":16226,"collection":124,"collections":16227,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},220083,"yi-zhu-tu-shen-zhou-220083","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 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木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[24,25,202,28,29,30,818,62,63,64,61,463,540,117,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[124],{"id":16245,"slug":16246,"title":16247,"dynasty":54,"author":3409,"museum":111,"description":16248,"tags":16249,"thumbUrl":16250,"material":303,"size":16251,"collection":44,"collections":16252,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},219409,"bai-miao-fo-xiang-tu-juan-cui-zi-zhong-219409","白描佛像图卷","崔子忠（约1574-1644年），初名丹，字开予，改名子忠，字道母，号青蚓。山东莱阳人，寓居顺天府（今北京）。善画人物、肖像，传世作品较少。此幅白描佛画，似说法或授经图，取法李公麟，人物高古，衣纹流美，作于崇祯四年（1631)，作者时年约五十八岁，款署“辛未九月九日长安门下士崔子忠识。”另纸有明田大受崇祯四年（1631）手书《金刚经》，款曰“崇祯辛未重阳日瀛州奉佛弟子田大受沐手敬书。”",[54,24,25,26,923,437,61,117,7,153,119,14116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb93c57ab1883defa55547102439778a.jpg","纵30厘米，横56厘米",[44],{"id":16254,"slug":16255,"title":16256,"dynasty":18,"author":434,"museum":111,"description":16257,"tags":16258,"thumbUrl":16259,"material":78,"size":16260,"collection":124,"collections":16261,"showCount":15783,"zanCount":928,"manualWeight":48,"mainColor":49},218545,"shui-ge-na-liang-tu-yi-ming-218545","水阁纳凉图","这幅画描绘了一个池塘的一角，池塘表面有荷叶，池塘上方坐着一个亭子，一侧有柳树遮挡，亭子里的人在风中吹气，以保持凉爽。在通往亭子的栏杆上，可以看到两个孩子，一个站在凳子上采摘水果，另一个站在一边观看。",[23,24,25,59,114,30,62,64,7,90,61,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e0fb0842b2e8361dde396b28c2a8f.jpg","24.4x24.9cm",[124],{"id":16263,"slug":16264,"title":16265,"dynasty":223,"author":16266,"museum":2458,"description":5472,"tags":16267,"thumbUrl":16268,"material":122,"size":5475,"collection":124,"collections":16269,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},218102,"xin-an-yi-yun-ce-han-zhu-shan-shui-han-zhu-218102","新安逸韵册(韩铸山水)","韩铸",[24,25,385,28,118,30,117,7,31,501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8e42768e6ff7fa17a5e7182b49522e.jpg",[124],{"id":16271,"slug":16272,"title":16273,"dynasty":54,"author":5967,"museum":266,"description":16274,"tags":16275,"thumbUrl":16276,"material":140,"size":16277,"collection":179,"collections":16278,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":128},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","这幅画描绘了诗人游赤壁之景，宽阔的河面，水天一色，小船随河水起伏，船上的人驶向赤壁赏景，构图深远，笔法接近沈周。画中的岩石和树木线条松散而稳健，人物的线条简单，而石头的堆砌紧凑而富有变化，色彩的搭配富于深浅变化，使物体的层次清晰地凸显出来，显示出文人在场景前的闲适和优雅。",[23,24,25,26,114,28,118,120,119,153,30,115,7,117,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 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75.5",[],{"id":16280,"slug":16281,"title":16282,"dynasty":133,"author":434,"museum":56,"description":16283,"tags":16284,"thumbUrl":16285,"material":78,"size":179,"collection":124,"collections":16286,"showCount":15783,"zanCount":48,"manualWeight":48,"mainColor":49},214607,"shui-ge-tu-ye-yi-ming-214607","水阁图页","水阁图是一幅中国古代的山水画，作者不详，来自元代（1271-1368年）。这幅画以水为主题，描绘了一个江南风光的景象，展现了山水之间的和谐关系。\n\n画面中的水流清澈，河岸上有树木葱茏，草木茂盛。在画面的左侧，可以看到一座小山丘，山上有一座小楼，楼上挂着红绸帘，风景优美。在楼下的河中，有几艘游船在水上悠悠游动，人们在船上欢声笑语。在画面的右侧，有一片清幽的山林，山间有一条小溪流过，水声清脆。\n\n整幅画面气氛轻松惬意，色彩明快，构图巧妙，画风浑然天成，是一幅典型的山水画作品。",[23,24,28,29,59,30,62,7,1473,342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d33733160c5b165a06b7d1234eae23f.jpg",[124],{"id":16288,"slug":16289,"title":1651,"dynasty":54,"author":55,"museum":459,"description":16290,"tags":16291,"thumbUrl":16292,"material":808,"size":809,"collection":179,"collections":16293,"showCount":16294,"zanCount":928,"manualWeight":48,"mainColor":49},290873,"chun-shan-yin-shang-zhou-chou-ying-290873","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[152,24,202,27,28,29,30,61,62,64,116,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1675e33be13137aeb68f7c392e602fd.jpg",[],31,{"id":16296,"slug":16297,"title":16298,"dynasty":223,"author":1579,"museum":459,"description":16299,"tags":16300,"thumbUrl":16301,"material":808,"size":809,"collection":179,"collections":16302,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},290541,"fang-cao-zhi-bai-shui-cun-yu-le-yun-shou-ping-290541","倣曹知白水村渔乐","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,385,114,30,639,115,64,138,7,153,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6edccc8494839cb82742043f1a9a07.jpg",[],{"id":16304,"slug":16305,"title":16306,"dynasty":18,"author":3618,"museum":459,"description":16307,"tags":16308,"thumbUrl":16309,"material":808,"size":809,"collection":179,"collections":16310,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":985},289756,"mo-fan-kuan-lu-shan-tu-jiang-can-289756","摹范宽庐山图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，",[23,152,24,25,202,114,30,62,64,426,90,117,7,118,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6238a367ca5faaa932225d420ea9a296.jpg",[],{"id":16312,"slug":16313,"title":16314,"dynasty":18,"author":14475,"museum":459,"description":14476,"tags":16315,"thumbUrl":16317,"material":808,"size":809,"collection":179,"collections":16318,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},288946,"xiao-xiang-ba-jing-shan-shi-qing-lan-wang-hong-288946","潇湘八景-山市晴岚",[24,26,475,114,115,64,243,3029,7,16316,118],"雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a8b94010aa0146c8a6e135d48a7ec.jpg",[],{"id":16320,"slug":16321,"title":16322,"dynasty":133,"author":636,"museum":459,"description":16323,"tags":16324,"thumbUrl":16326,"material":808,"size":809,"collection":179,"collections":16327,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},287596,"xi-shan-yu-yi-tu-wu-zhen-287596","溪山雨意图","该画卷描绘的是黄公望笔下常见的江南景象，图中景象烟雨空濛，笔法多样，代表了文人画高度成熟时期的审美需要，是宋元之后文人绘画的主流风格。 整个画卷空无一人，山水则似真非真有恬淡、简远、空灵寂静之意境，表达了画家寄情山水，抒胸中逸趣之理想审美境界。",[152,24,25,202,114,30,118,63,64,116,62,7,117,16325,119,153],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bba6c7101630ccfecf55d8000d2bed.jpg",[],{"id":16329,"slug":16330,"title":16331,"dynasty":223,"author":15618,"museum":459,"description":16332,"tags":16333,"thumbUrl":16334,"material":179,"size":179,"collection":45,"collections":16335,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},239380,"hong-wu-da-yu-zhi-shui-tu-juan-hong-wu-239380","弘旿大禹治水图卷","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,24,25,26,28,30,61,7,156,32,243,37,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe675717ccbee700587769309e68dd62f.jpg",[45],{"id":16337,"slug":16338,"title":16339,"dynasty":223,"author":16340,"museum":20,"description":16341,"tags":16342,"thumbUrl":16343,"material":179,"size":179,"collection":124,"collections":16344,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},239229,"guan-shan-xing-lv-zhou-zhou-hao-239229","关山行旅轴","周颢","周颢，同名人物有两位。分别是清代书画家、竹刻家。字晋瞻，号芷嵒（一作巖、岩）、芷道人、芷叟、雪樵，因蓄美须长髯，自号髯痴，人呼周髯；湖北美术学院教师。\n工书画，尤精竹刻。行书师法苏轼，跌宕奇伟，自成风格。山水画早年学王翚，笔墨秀润。又善临摹，仿王蒙最工，人物画也很精妙。擅长画竹，兴酣落笔，风枝或雨叶栩栩如生。尤其以画法施之刻竹，合南北宗为一体。技艺闻名乡里，所刻山水、人物、丛竹，用刀如用笔，不必假借他人稿本。除了擅长以阴刻搭配浅浮雕技法来雕刻纹饰，尤擅长采用阴刻技法雕得相当深陷，再在深陷部位依据纹饰的需要浅雕局部纹饰，名为“陷地深刻”。这种深刻技艺，始于朱松邻，至周颢集大成。传世作品以笔筒和臂搁为主。其竹刻以阴刻技法展现绘画中的“南宗山水”最具特色，与“三朱”的刻竹面目大不相同。金元钰称誉周颢在竹人中，好像杜甫在盛唐诗人中的地位一样，首屈一指。",[24,25,202,114,118,30,117,7,61,69,207,205,3566,1289,4677,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe459ba58587eb0fbdcff3afdad0c85b6.jpg",[124,103],{"id":16346,"slug":16347,"title":15833,"dynasty":223,"author":3937,"museum":459,"description":15834,"tags":16348,"thumbUrl":16349,"material":179,"size":15837,"collection":179,"collections":16350,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},238029,"hong-ren-shan-shui-tu-ce-hong-ren-238029",[24,25,385,114,28,30,289,7,64,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10102ec27a9d86269d3849cb605c37b2.jpg",[],{"id":16352,"slug":16353,"title":16354,"dynasty":223,"author":9866,"museum":459,"description":11050,"tags":16355,"thumbUrl":16357,"material":808,"size":809,"collection":179,"collections":16358,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},237937,"za-hua-ce-zhu-da-237937","杂画册",[24,25,385,114,120,16356,117,7,228,118,153],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86108c56dd64ee2459aadeca6d13748.jpg",[],{"id":16360,"slug":16361,"title":1178,"dynasty":223,"author":1533,"museum":20,"description":11410,"tags":16362,"thumbUrl":16363,"material":936,"size":11413,"collection":124,"collections":16364,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},237610,"shan-shui-zhou-wang-jian-237610",[24,114,118,202,30,117,7,63,64,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc811fcb2decec93770fba981f9fb35b6.jpg",[124,103],{"id":16366,"slug":16367,"title":6800,"dynasty":223,"author":2792,"museum":459,"description":6801,"tags":16368,"thumbUrl":16369,"material":179,"size":179,"collection":124,"collections":16370,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},237602,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237602",[24,25,385,114,118,60,120,153,30,117,204,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901d55e3abf423efff694b4d83b35d25.jpg",[124,1822],{"id":16372,"slug":16373,"title":16374,"dynasty":223,"author":1533,"museum":167,"description":16375,"tags":16376,"thumbUrl":16378,"material":360,"size":179,"collection":124,"collections":16379,"showCount":16294,"zanCount":928,"manualWeight":48,"mainColor":128},237076,"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[24,25,152,202,28,118,30,243,206,7,540,1665,244,16377],"水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg",[124],{"id":16381,"slug":16382,"title":3901,"dynasty":54,"author":13169,"museum":20,"description":16383,"tags":16384,"thumbUrl":16385,"material":15512,"size":16386,"collection":124,"collections":16387,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},236904,"shan-shui-ce-song-xu-236904","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,25,385,28,30,117,7,63,64,204,213,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工诗书，善绘事。四王以后的山水画大家，被誉为四王后劲，与清代画家汤贻汾齐名。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花鸟、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是:临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。戴熙另著有《习苦斋画絮》，于画理多有论述。题画偶录行世。\n他的子侄受其影响都能绘画:长子有恒(1826-1891)(字大年，号保卿)所作山水笔意疏秀，有倪瓒风韵。以恒(字用伯)、之恒(字仲江，号菊孙)、其恒(字秀渠，又字问水)、尔恒(字子谦)，皆继承家学，善作山水，而各有成就。\n以恒更有声誉，所作山水笔意淹润，墨气淋漓，而屋宇几席亦复精工，著有《醉苏斋画诀》。《清画家诗史》则称之恒画技为戴氏群从之冠。有恒子兆登、兆春亦均能画。",[24,25,26,114,118,30,117,7,116,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d99c23e5f3cf97e36ff8021d4c17f77.jpg",[],{"id":16421,"slug":16422,"title":2362,"dynasty":133,"author":355,"museum":167,"description":16423,"tags":16424,"thumbUrl":16425,"material":140,"size":16426,"collection":179,"collections":16427,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},232265,"xi-shan-gao-yi-tu-wang-meng-232265","远处高山耸立，冲出画面，山头层层叠叠，树木苍茫，左侧高山间，一线飞瀑直落而下，水珠四溅，山石中部又一飞泉，从岩间淙淙涌出，溪间奔湍，沿山脚蜿蜒曲折地流注而下。中景山腰处，松木成行。近景为坡岸，山石长有几株松树，有的枝干挺拔直上，有的枝干长满结节，有的松树枝叶盘曲有姿，十分茂密，相互交错，错落有致。在山间林中，有数间屋宇草堂，门窗敞开，堂中有一高士端坐其间，身穿宽服长袍，正在阅渎书卷，旁有书童侍立在旁。屋堂外的宽阔平地上有一只双翅展开的仙鹤。画幅左下角又一长者，身穿大袍，头戴官帽伫立在平地上，正在凝神地观赏四周优美的江南山山水水，十分悠闲自得。树下和山石旁留下一片水面，十分平静。款署：“叔明王蒙为菊窗琴友制图。”\n王蒙出身书画世家，外公就是元代书画家赵孟頫，所以他的画早期受赵孟頫的影响较深。后又综合唐宋名家，广采博览，故其画纵逸多姿，又独创渴笔解索皴法，终于跳出赵孟頫规矩之外，自开门户。画山水师法巨然，风格独特，“层巅奉律摩苍穹，咫尺可论千万重”。在元代山水画家中，是唯一以作品繁、密取胜者，构图回环重叠，结构复杂，笔墨熟练，重用笔而胜于用墨，强凋书法情趣，他的画构图繁复周密，以各种手法表现江南林木的苍郁茂盛和湿润感，是元代具有创造性的山水画大师，明清及近代画家几乎都学过他的画。此《溪山高逸图》，是他画构图繁复的山水画中代表作之一。\n此画构图繁密，密而不塞，密中求疏。全画用笔苍郁沉厚，颇见功力。山石皴笔用细如牛毛、略带波颤、层次繁密的“解索皴”，再加上用破笔点成的苔痕，苍苍茫茫，“望之而郁然深秀”。此画最大特点，作者善于表现江南深山溪谷草木华滋的蒙茸湿润之感。中近景树木用双勾法，树干曲折，一笔二过，树叶形状不一，填彩各异，但没有掩隐墨色的效果。纵观此图，画面崇山松木与溪流飞瀑相得益彰，有声有色，自然和谐，构图深远，结构密而不塞，与元代简洁之风大相径庭，充分体现了作者独特的风格。\n明代画家董孝初：“叔明此图，昔人评为第一，非浪语也。笔法之妙，布置之奇，如韩淮将兵，多多益办。……苍古秀润，沉雄浑厚，殆兼之矣。”\n当代画家张德宁：此图用湿笔在绢上反复勾皴渲染，其颇具个性的“牛毛皴”、“解索皴”，灵动而又凝重，笔墨清晰，有迹可循，深得历代画家的赞赏。",[24,25,202,114,28,118,30,7,116,64,117,35,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c886a58613a314ad3485c1fad4393.jpg","纵113.7厘米，横65.3厘米",[],{"id":16429,"slug":16430,"title":16431,"dynasty":54,"author":9142,"museum":56,"description":16432,"tags":16433,"thumbUrl":16434,"material":230,"size":16435,"collection":179,"collections":16436,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":1138},231569,"fang-ma-yuan-yan-yun-die-zhang-tu-li-zai-231569","仿马远烟云叠嶂图","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[23,24,25,26,114,30,118,243,37,7,117,119,153,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013a2fc6a37091ae937949aa02030f9c.jpg","纵27.9厘米，横320厘米",[],{"id":16438,"slug":16439,"title":16440,"dynasty":133,"author":5646,"museum":167,"description":16441,"tags":16442,"thumbUrl":16443,"material":303,"size":16444,"collection":179,"collections":16445,"showCount":16294,"zanCount":928,"manualWeight":48,"mainColor":128},231413,"qun-feng-xue-ji-tu-cao-zhi-bai-231413","群峰雪霁图","《元曹知白群峰雪霁图》是元代大画家曹知白晚年创作的一幅纸本水墨中国画作品，该作尺寸纵129.7公分，横56.4公分，现藏 。\n在技法上已经达到了融会贯通的境界。\n画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。\n在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。\n此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。\n一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。\n此作的构图布局采用的是“高远法”，整体山势不以险峻取胜。\n平稳和缓的峰峦，带有明显的江南景象的特征，重重叠叠，层层递进，大有江山无尽之感。\n【名称】元曹知白群峰雪霁图 【类别】中国 【 【 【 【简介】 图轴，纸本，水墨画，纵：129.7公分，横：56.4公分。\n该画以白颜色为主要色调，技法表现看似简单，实则匠心独运，法度森严，虚实得当，计白当黑，尤其是在水榭、树木这些细微之处更见功夫。\n用笔简约疏朗，刚柔相济；用墨润燥相间，清淡温和；巧妙地把北方山水所特有的苍浑巍峨的“河朔气象”融入恬淡雅逸的江南景色的韵味，形成了柔美、宁静、凝重的风格。\n观者在一望之间，即能体会到北方山川的厚重沉稳，也能品味出南方山水的内在之美。\n另外，有学者认为「雪图」，可能是 早年精仿宋人之作。\n曹知白（1272-155年），字又玄，一字贞素，号云西，华亭（今属上海松江）人。\n工诗文，善画山水，画法师李成、郭熙，笔墨清润，全无俗气。\n晚年笔法苍简，自成一格。\n对后世绘画有一定的影响。",[24,201,475,202,118,153,3876,818,204,7,35,243,1290,994,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a999b20c2e336d2ab5e434cb134b279.jpg","纵129.7厘米，横56.4厘米",[],{"id":16447,"slug":16448,"title":16449,"dynasty":133,"author":16450,"museum":167,"description":16451,"tags":16452,"thumbUrl":16454,"material":16455,"size":16456,"collection":179,"collections":16457,"showCount":16294,"zanCount":11,"manualWeight":48,"mainColor":128},231339,"shan-shui-tu-yuan-dai-ji-jin-zhi-qi-lin-juan-a-231339","山水图－元代集锦之七","林卷阿","这件作品是元代集锦卷之一，也是林卷阿传世的唯一的传世国画作品。作品描绘的有坡树，悬崖，阔永远山，有两个人在悬崖上对坐畅谈。江中有一孤舟正泛波而行，远山连绵起伏，境界清旷。作者将董巨、郭熙画风融为一体，用笔圆润秀逸。在作品的尾部有作者自己题的款识“癸丑闰十一月，余访远斋副使于竹崎，谈诗论画。因道余师方壶公及孟循张先生，乃知用行尝与二师游，好古博雅，尤精书法。”",[24,114,475,26,25,118,30,289,16453,7,34,500,661,37,153],"沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc95f024886affd29ce1db2823207e22.jpg","卷,纸本,墨笔","纵25厘米，横61.5厘米",[],{"id":16459,"slug":16460,"title":16461,"dynasty":18,"author":198,"museum":459,"description":16462,"tags":16463,"thumbUrl":16464,"material":179,"size":179,"collection":179,"collections":16465,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},230971,"chong-shan-fu-ling-tu-li-zhou-fan-kuan-230971","重山复岭图立轴","此作以雄浑苍劲的笔力绘就北国山川，主峰巍峨沉厚，以雨点皴反复皴擦山石肌理，将岩质的粗糙坚硬尽数铺展，裹挟着磅礴厚重的山岳气势扑面而来。山间古木虬曲交错，丹黄枝叶点染出深秋萧疏意趣。山坳板桥村舍隐于林木烟岚间，细笔轻勾出乡野烟火，于雄奇之中晕开温润生机，刚柔相济消解了山岳的冷峻。\n\n构图层峦叠嶂，虚实相生，高远深远兼具，将山川的浑莽大气与林下幽居的悠然相融，尽显山水风骨与内敛的人文意趣。",[23,24,152,25,202,114,28,30,118,243,117,7,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ccf22bfab8ac355246314d05dace25.jpg",[],{"id":16467,"slug":16468,"title":13731,"dynasty":223,"author":16469,"museum":459,"description":16470,"tags":16471,"thumbUrl":16472,"material":808,"size":809,"collection":179,"collections":16473,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},230357,"shan-shui-ce-ye-fan-qi-230357","樊圻","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[152,24,25,385,28,118,30,289,994,7,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070ae4ad6a2c40b1bfed2dcffb4d2d0f.jpg",[],{"id":16475,"slug":16476,"title":16477,"dynasty":223,"author":4731,"museum":459,"description":16478,"tags":16479,"thumbUrl":16480,"material":179,"size":179,"collection":179,"collections":16481,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},230294,"gui-lin-qiu-yue-tu-yuan-jiang-230294","桂林秋月图","界画亦名宫室，主要以建筑物、舟车之类为表现题材，所画对象要求准确、工整，一丝不苟，过去画诀有“山水打头，界画打底”之说，宋郭思说：“画屋木者，折算无亏，笔画勾壮，深远透空，一去百斜”。\n画界画历代不乏高手，唐末有尹继昭及他的学生卫贤等，元夏永、明仇英皆是界画高手。\n到了清代，袁江、袁耀父子擅画界画，虽技艺超群，但不为时人所重。\n至近代在山西太原尉氏家中，发现大量“二袁”作品，声名始震。\n袁耀“露台秋月图”纵18、横142.5厘米，胡佩衡旧藏，此画绘中秋宫苑赏月情景，一轮明月当空，万籁俱寂，宫殿在树木中或露或隐，山石玲珑剔透，诗情画意跃然纸上，此意趣决非一般画匠所能为。\n袁耀字昭道，江都（今扬州）人。\n生卒年不详，创作年代约在1747年至1778年之间。",[23,24,25,59,28,29,30,62,2316,7,243,61,70,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc906c6d22f541f535a6f7ab6dde3b6da.jpg",[],{"id":16483,"slug":16484,"title":16485,"dynasty":223,"author":472,"museum":459,"description":16486,"tags":16487,"thumbUrl":16488,"material":179,"size":179,"collection":179,"collections":16489,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},230176,"fang-gu-ce-ye-wang-shi-min-230176","仿古册页","此作以青绿设色追摹古意，山峦层叠起伏，皴法苍润松秀，勾勒间尽显山石肌理。飞瀑穿林越谷，循着山涧蜿蜒汇入澄澈清溪，屋舍错落隐于葱茏林木间，山脚水畔嘉木繁荫，淡赭与石青石绿晕染出温润雅致的色调。\n\n笔墨间既承袭山水的萧散淡远，又自有安和静谧的意趣，将山居丘壑的幽寂清远铺陈开来。摹古之际亦融入己心，把文人林泉高致的隐逸情怀藏入每一处丘泉林木中，尽显古雅沉静的山水意境。",[24,28,30,118,385,117,7,204,35,676,64,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e500db2b9360583507b90d46b9f3.jpg",[],{"id":16491,"slug":16492,"title":16493,"dynasty":54,"author":6559,"museum":459,"description":16494,"tags":16495,"thumbUrl":16496,"material":179,"size":179,"collection":179,"collections":16497,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","《清卞文瑜溪山秋蔼图》是清代卞文瑜的画作，手卷，纸本，水墨，26×18厘米。\n现在收藏于大都会艺术博物馆藏。\n卞文瑜，明末清初画家。\n本姓徐，后改卞，字润甫，号浮白。\n江苏苏州人人。\n他擅长山水画，布局结构颇富巧思，对树石的刻划富有笔意。\n他曾从董其昌研求笔墨，因此他的画风与董其昌很接近，但落墨太松，失之于弱。\n所作绘画小景居多，大幅少见。\n卞文瑜（1576-1655），明末清初画家。\n字润甫，号浮白，号花龛，长洲（今江苏苏州）人。\n擅画山水，树石勾剔，甚有笔意，尝从董其昌讲求笔法，故笔墨亦相近。\n善作小景，因落墨松散故不善作大幅。\n亦为“画中九友”之一。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。\n因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。\n这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。\n晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。\n每至娄中观古人画，则伏卧其下，不忍释手。\n”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。\n”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。\n正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。\n晚年笔力真沧州，幅中鹤绿轻王侯。\n”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,25,26,114,118,120,119,153,30,341,7,35,206,37,2869],"https:\u002F\u002Foss.chuangqi.store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Parc Monceau, 1878",[7526,3239,14294,16503,7,411,502,61,7527,7530,8253,16504,16505,16506,7531,16507],"公园","长椅","散步者","坐着的人群","远处建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262a86f081aaf393df59e832219348f2.jpg",[3244],{"id":16511,"slug":16512,"title":16513,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":16514,"thumbUrl":16519,"material":808,"size":809,"collection":3244,"collections":16520,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},225751,"garden-with-courting-couples-square-saint-pierre-may-1887-fan-gao-225751","Garden with courting couples square Saint-Pierre May 1887",[3239,7526,14293,16089,8252,12511,7,13894,16515,411,5404,16516,16517,16518,13984,7418],"情侣","花树","春季","休闲场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ae313a4f30faca5121342445f1d07.jpg",[3244],{"id":16522,"slug":16523,"title":16524,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":16525,"thumbUrl":16527,"material":808,"size":809,"collection":3244,"collections":16528,"showCount":16294,"zanCount":928,"manualWeight":48,"mainColor":49},225722,"boerendorp-in-de-avond1884-fan-gao-225722","Boerendorp in de avond1884",[3239,4311,10864,5232,10514,7,3148,61,16526,6958,9086,1191,155],"黄昏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817d2b11651cbf2f2bbb290d49ca5c3f.jpg",[3244],{"id":16530,"slug":16531,"title":16532,"dynasty":223,"author":2792,"museum":459,"description":16533,"tags":16534,"thumbUrl":16535,"material":179,"size":179,"collection":179,"collections":16536,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[23,152,24,25,26,28,30,60,118,64,115,7,156,116,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0817a3be691b2edd3029ce0cbafbb222.jpg",[],{"id":16538,"slug":16539,"title":16540,"dynasty":223,"author":472,"museum":167,"description":16541,"tags":16542,"thumbUrl":16543,"material":316,"size":16544,"collection":179,"collections":16545,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},224434,"luo-mu-han-quan-tu-zhou-wang-shi-min-224434","落木寒泉图轴","该图写太湖秋高气爽之景色。设景简略，绘平坡疏树，山麓茅亭。在画法上宗法倪瓒，山石树木勾勒用渴笔正锋侧出，转折处露锋芒而笔墨浑然，但点叶与小树画法仍近黄公望笔意，其苍厚蕴藉的风致反映的是画家晚年的典型面貌。",[23,24,25,202,114,118,30,7,3566,117,64,116,500,2808,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2adb5680f897abc61971068a52abe5f.jpg","纵83cm,横41.2cm",[],{"id":16547,"slug":16548,"title":16549,"dynasty":223,"author":472,"museum":20,"description":10711,"tags":16550,"thumbUrl":16551,"material":936,"size":16552,"collection":124,"collections":16553,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},224430,"shan-shui-tu-zhou-1-wang-shi-min-224430","山水图轴1",[23,24,25,202,114,118,30,341,342,7,244,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91509f5ac8b38273762ab9dd2033f8fd.jpg","纵135厘米，横63厘米",[124],{"id":16555,"slug":16556,"title":16557,"dynasty":223,"author":5609,"museum":459,"description":16558,"tags":16559,"thumbUrl":16562,"material":179,"size":179,"collection":179,"collections":16563,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},224157,"hua-gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-224157","画高宗御笔秋花诗轴","将对自然的喜爱带入生活，呈现在庭园中，成为小中现大的世界，正是本幅主体。\n作于乾隆十一年（1746）秋七月，画内廷台阁花园景致。\n台阁以界画绘制，具透视感。\n但与花卉相较却偏小，并不合真实比例，应是为强调群芳争妍的盛况而做此安排。\n园中鸡冠、秋葵、雁来红、菊、红蓼、凤仙等怒放，一片缤纷灿烂，展现明媚秋色。\n【名称】清 张若霭 画高宗御笔秋花诗 【年代】清代 【简介】台北故宫博物院。\n张若霭（171-1746），字晴岚，号景采，又号炼雪道人、晴岚居士，蕴真阁，梅花纳，炼雪道人，藕得书屋，佳梦轩等。\n安徽桐城人。\n张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。\n雍正十一 年（172年）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房。\n官至礼部尚书。\n曾参与《石渠宝笈》的编辑工作，乾隆十一年（1746年）随帝西巡，因病回京，不久卒。\n谥文僖。\n有《岁寒三友图》、《仿王元章疏影寒香图》传世。\n张若霭善书，工画花竹、禽虫，深得王糓祥、周之冕笔意。",[23,24,28,29,59,62,64,16560,1665,328,16561,7],"秋花","瓦顶建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63628092ed57c5738e2fb917c30694a2.jpg",[],{"id":16565,"slug":16566,"title":16567,"dynasty":223,"author":16568,"museum":459,"description":16569,"tags":16570,"thumbUrl":16571,"material":808,"size":809,"collection":179,"collections":16572,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},224150,"wan-nian-zhi-shang-ri-chu-chang-shi-yi-zhou-yu-shi-224150","万年枝上日初长诗意轴","于氏","孔宪培之妻,孔宪培(1756-1793)：原名允宪，字养元，号笃斋，清朝曲阜(今属山东省)人。乾隆年间，袭封衍圣公；夫人于氏，被册封为一品夫人。",[23,24,25,202,28,29,27,59,30,62,116,7,117,64,1665,16056,1622,70,9050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f460da26208a42a6f0f8d44c32e407a.jpg",[],{"id":16574,"slug":16575,"title":16576,"dynasty":223,"author":1998,"museum":20,"description":7227,"tags":16577,"thumbUrl":16578,"material":40,"size":7230,"collection":179,"collections":16579,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},223288,"shan-shui-si-tiao-ping-yang-zhou-si-jing-chun-tai-ming-yue-yuan-yao-223288","山水四条屏-扬州四景-春台明月",[23,152,24,25,30,59,28,29,62,2316,7,726,32,37,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg",[],{"id":16581,"slug":16582,"title":16583,"dynasty":223,"author":858,"museum":514,"description":859,"tags":16584,"thumbUrl":16585,"material":140,"size":869,"collection":179,"collections":16586,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},223038,"hong-lou-meng-163-sun-wen-223038","红楼梦163",[23,24,29,28,59,61,62,70,173,174,30,7,1621,689,1524,736,691,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77715bf17c0334e164e3416334c83b.jpg",[],{"id":16588,"slug":16589,"title":16590,"dynasty":54,"author":6559,"museum":56,"description":16591,"tags":16592,"thumbUrl":16593,"material":360,"size":16594,"collection":124,"collections":16595,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},222378,"qiu-chuang-du-yi-tu-bian-wen-yu-222378","秋窗读易图","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,25,26,114,118,30,341,342,7,35,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5425a26530b9662c58fbbc9ca2f31ae1.jpg","26×108",[124,103],{"id":16597,"slug":16598,"title":16599,"dynasty":54,"author":4230,"museum":167,"description":16600,"tags":16601,"thumbUrl":16602,"material":555,"size":16603,"collection":124,"collections":16604,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},222030,"xi-qiao-ce-jian-tu-zhou-dai-jin-222030","溪桥策蹇图轴","此幅画半壁悬崖，草木郁郁，乱流奔湍；行人赶路，形色惶急。右半边江面辽阔宁静，远山帆影，渔人神态甚为悠闲。对角线的构图方式，源自南宋院体，近景坡石用斧劈皴法，辅以墨染，营造出石之质感与立体感。",[23,24,202,30,118,28,63,64,115,117,7,61,90,579,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db05b40e690af672c8b38a93cb5face.jpg","137.5x63.1公分、全幅 90.2公分",[124,103],{"id":16606,"slug":16607,"title":16608,"dynasty":133,"author":6534,"museum":167,"description":16609,"tags":16610,"thumbUrl":16611,"material":16612,"size":16613,"collection":124,"collections":16614,"showCount":16294,"zanCount":928,"manualWeight":48,"mainColor":49},221691,"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[23,152,24,25,202,114,118,30,7474,4114,7,63,64,500,674,37,117,3601,206,345,11825,2223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[124,103],{"id":16616,"slug":16617,"title":16618,"dynasty":1743,"author":5400,"museum":5177,"description":16619,"tags":16620,"thumbUrl":16622,"material":5412,"size":179,"collection":179,"collections":16623,"showCount":16294,"zanCount":928,"manualWeight":48,"mainColor":128},220555,"xi-ma-la-ya-shan-zhi-lin-xu-bei-hong-220555","喜马拉雅山之林","以林木为天然画框，将雪域盛景揽入其中。苍劲树干皴刻着斑驳肌理，枝桠间萌动的新绿晕开春日生机，暖棕色调晕染出山林的温润烟火气。远景山峦层叠着柔灰与赭色，峰顶积雪在天光下泛着清冽皎洁，冷调与暖韵交织融合，揉合西画光影质感与东方山水留白意趣。\n\n将山野春日的鲜活瞬间凝于画布，循着林木间隙，便可踏入这藏着林间呼吸与雪域清辉的秘境，窥见生机盎然的山林与孤高辽远的雪山共生的自然意趣。",[152,3239,28,4311,7,1080,243,5404,37,16621,500,38],"森林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797481366c3bd1cdfc248ab635ea0f5c.jpg",[],{"id":16625,"slug":16626,"title":16627,"dynasty":133,"author":10373,"museum":299,"description":16628,"tags":16629,"thumbUrl":16630,"material":303,"size":16631,"collection":103,"collections":16632,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},220263,"tai-bai-long-jiao-tu-fang-cong-yi-220263","太白泷湫图","此幅作品画陕西秦岭主峰太白山上的瀑布，与隐居其间的道士。此幅画构图，大致运用远、中、近景的三段式。近景平地松木和杂树丛生，树林背面有数间茅屋、水榭．楼阁，隐约可见。中景为空旷的水面，左侧的岸边长着数株林木，右侧的山径曲折，在半山腰中有数株树木，枝叶下垂。山腰间瀑布直泻，宛如一条白龙腾空而下。远景为龙脉高耸的山势，十分奇峭。",[23,24,114,202,30,118,341,7,64,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178ff5a5c7e7663f1940e96e2b60d742.jpg","纵105.6厘米，横46.1厘米",[103],{"id":16634,"slug":16635,"title":16636,"dynasty":223,"author":1167,"museum":167,"description":16637,"tags":16638,"thumbUrl":16639,"material":122,"size":16640,"collection":44,"collections":16641,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},220252,"pin-quan-tu-zhou-jin-ting-biao-220252","品泉图轴","图绘月下林泉，一文士坐於靠溪的垂曲树干上啜茗，状至悠闲，一童蹲踞溪石汲水，一童竹炉燃炭，三人的汲水、备茶、啜茗动作，恰恰自然的构成了一幅汲水品茶的连环图画。画面上明月高挂，清风月影，品茗赏景，十分自在。本幅山水人物浅设色，笔墨精鍊，人物清秀，圆短脸形的文人造型极富特色，衣袖襟襬皱摺转折猷劲，皆与记载中的「折芦描」相近。",[23,24,152,28,29,61,64,7,2316,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3431179624016bbae30476a9512741.jpg","纵58厘米，横73.8厘米",[44],{"id":16643,"slug":16644,"title":16645,"dynasty":133,"author":434,"museum":551,"description":16646,"tags":16647,"thumbUrl":16648,"material":555,"size":16649,"collection":124,"collections":16650,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},220108,"yue-xia-xing-lv-tu-yi-ming-220108","月下行旅图","以极简水墨写意铺展夜色行旅，冷月孤悬于淡墨晕染的空濛山巅，崖上古木萧疏，枝桠如铁，漫出深秋荒寒。陂陀小径之上，商旅结队徐行，简笔勾勒的人影意态宛然，将天涯羁旅的寂寥藏在冷寂夜色中。\n\n题诗与山水相映，诗画交融，把行客的孤愁寄寓在清寒月色间。以留白营造空茫虚境，淡墨轻皴晕开夜色，寥寥数笔便将羁旅况味铺陈尽致，尽显简淡悠远的写意之妙，把漂泊天涯的乡愁融在萧疏冷寂的水墨意境中，淡远里藏着绵长情致。",[23,24,25,202,114,28,30,61,2316,426,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc25fc9283dc8d52cfec6c9fd342bab4.jpg","36x54.3",[124],{"id":16652,"slug":16653,"title":16654,"dynasty":54,"author":110,"museum":423,"description":16655,"tags":16656,"thumbUrl":16657,"material":303,"size":16658,"collection":124,"collections":16659,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},220088,"qiu-shan-ce-zhang-tu-shen-zhou-220088","秋山策杖图","沈周，吴门画派之开启者，“明四家”之首，以其艺事之高，硕德之重，为明早中期江南人望。擅山水，出宋入元，雄健渊穆，自成大家。亦擅花卉，妍雅朴厚，对后世写意画家影响至深。此卷为其最晚年作，笔意简朴，墨法清润，已入铅华洗净、不求好而自好之境。款亦由熟返生，稚拙之趣可掬，老境可尚如此。\n卷后有一代鉴界巨擘张葱玉、谢稚柳长题。皆断其为石田晚年的笔，亦为此卷增色。石田翁名倾朝野，人又宽厚，其在世时已赝作泛滥，故此卷弥足珍贵。",[23,24,114,30,118,120,119,153,61,7,117,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ac56827735c8101dc33f1513a4a0d7.jpg","26 × 134 cm",[124],{"id":16661,"slug":16662,"title":16663,"dynasty":223,"author":1310,"museum":167,"description":16664,"tags":16665,"thumbUrl":16666,"material":303,"size":16667,"collection":124,"collections":16668,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},219933,"fang-wu-zhen-shan-shui-tang-dai-219933","仿吴镇山水","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[152,24,25,202,114,118,30,341,1473,7,63,206,35,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5f9e8cffd9a888365e8183c5e4e72d.jpg","93.6x53.5厘米",[124],{"id":16670,"slug":16671,"title":16672,"dynasty":54,"author":434,"museum":11610,"description":16673,"tags":16674,"thumbUrl":16675,"material":303,"size":16676,"collection":44,"collections":16677,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},219931,"hu-bian-gao-shi-tu-yi-ming-219931","湖边高士图","此作全景铺陈湖山胜景，巨岩巍峨雄峙，皴笔苍劲凝练，勾勒出山石浑厚嶙峋的质感，高远山势带着沉郁古拙的厚重意韵。近岸古木扶苏，浓荫如盖，林下高士雅聚，或立语或闲坐，意态萧散恬然。\n江畔烟波澹澹，水榭隐于远岸烟树间，晕染出空濛悠远的平远之境。以水墨晕染绢本，古雅色调衬出静穆清和的氛围，将山水之幽与林下雅集的闲逸融为一体，尽显文人寄情林泉、追慕幽隐萧散的林下高致，笔墨苍秀清润，铺展出古代文人心底的理想幽居之境。",[23,24,28,118,202,30,61,7,117,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4840ae03845157842e83799867a3ab.jpg","122x57.6厘米",[44],{"id":16679,"slug":16680,"title":16681,"dynasty":223,"author":11317,"museum":382,"description":16682,"tags":16683,"thumbUrl":16684,"material":122,"size":16685,"collection":124,"collections":16686,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},219855,"qiu-shan-tu-xiao-yun-cong-219855","秋山图","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,24,25,26,28,30,118,119,120,153,61,62,7,117,64,116,540,994,968,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[124],{"id":16688,"slug":16689,"title":16690,"dynasty":54,"author":3786,"museum":382,"description":16691,"tags":16692,"thumbUrl":16693,"material":303,"size":16694,"collection":124,"collections":16695,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},219741,"fang-ni-yun-lin-shan-shui-tu-lu-zhi-219741","仿倪云林山水图","陆治（1496年－1576年），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。",[23,24,114,118,60,202,30,31,117,7,116,64,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbdb0c6553b0cd9204aeeef9b88a4a8.jpg","纵136.7横32.1厘米",[124],{"id":16697,"slug":16698,"title":16699,"dynasty":54,"author":5544,"museum":382,"description":16700,"tags":16701,"thumbUrl":16702,"material":555,"size":16703,"collection":44,"collections":16704,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},219503,"qiao-fu-tu-wu-wei-219503","樵夫图","此作以粗劲写意之笔，绘就山野樵归之景。左上枯木虬枝盘错，水墨酣畅淋漓，苍莽老辣的笔墨勾勒出林间荒寂之态。负薪樵夫居于画面正中，衣纹以顿挫折芦描写就，寥寥数笔便将樵夫行于山径间的疲惫憨朴尽数烘托，肩头薪柴写实生动，尽显劳作的质朴厚重。淡墨晕染远景空茫，虚实相映间衬出郊野空旷萧疏，整体笔墨健拔爽利，将山野市井的日常意趣融于山水，把俗世生活的鲜活烟火气晕染在荒寂山野之中，简括传神又意韵悠长。",[23,24,152,202,114,228,61,7,117,578,579,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f737201526754b27266ed5a65515adf.jpg","纵164.8横95.0厘米",[44],{"id":16706,"slug":16707,"title":16708,"dynasty":54,"author":6680,"museum":167,"description":16709,"tags":16710,"thumbUrl":16711,"material":78,"size":16712,"collection":45,"collections":16713,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},219356,"xun-mei-tu-zhou-zhu-duan-219356","寻梅图轴","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,25,202,475,28,118,30,4124,61,579,117,7,63,5815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8adaba5994f15c5c5b21bc71be0d1b10.jpg","208.3x124.5",[45],{"id":16715,"slug":16716,"title":16717,"dynasty":54,"author":434,"museum":167,"description":16718,"tags":16719,"thumbUrl":16720,"material":78,"size":16721,"collection":45,"collections":16722,"showCount":16294,"zanCount":928,"manualWeight":48,"mainColor":49},219350,"wang-hai-lou-tu-zhou-yi-ming-219350","望海楼图轴","画中楼阁矗立于城墙之上，下瞰大江，群客登临宴饮。屋内文人三五成群，有些持卷观赏，有些凭窗眺远。本幅用界工整，青绿设色已略剥落，然屋宇脊顶之蛤白勾勒线条仍鲜明如故，使楼台轮廓分外醒目。此图签题虽定为「望海楼图」，然根据绘画内容看来，整个建筑群组面城临江， 居高临下，江边还有大型的雀舫龙舟，非常接近唐代文人王勃于〈藤王阁序〉中所描写的场景，或可定为藤王阁图。",[24,152,202,59,29,28,62,61,30,90,89,7,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedfd8e3692883f0a750fcbb48cfd87f.jpg","159.8x93.2",[45],{"id":16724,"slug":16725,"title":16726,"dynasty":54,"author":434,"museum":266,"description":16727,"tags":16728,"thumbUrl":16729,"material":28,"size":179,"collection":44,"collections":16730,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},219249,"pu-xian-pu-sa-xiang-yi-ming-219249","普贤菩萨像","白象披挂华鞍，纹饰繁复间透着庄严气象。普贤端坐其上，衣袂轻扬，神态沉静超然，似于松云间体悟禅意。旁侧侍从躬身侍立，姿态恭谨，与菩萨的互动自然生动，流露世俗温情。双松虬枝挺拔，松针细密如织，云雾缭绕其间，晕染出缥缈仙境。线条流转如丝，衣纹褶皱毕现，大象肌理细腻，虽经岁月磨洗，仍见笔触精绝。整体画风古雅庄重，宗教肃穆与生活意趣相融，尽显明代佛画之神韵，观之令人心生敬畏与安宁。",[24,25,202,923,28,29,61,5991,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279812a5974c18fd0e53a962647d077c.jpg",[44],{"id":16732,"slug":16733,"title":16734,"dynasty":18,"author":1792,"museum":167,"description":16735,"tags":16736,"thumbUrl":16737,"material":78,"size":16738,"collection":124,"collections":16739,"showCount":16294,"zanCount":928,"manualWeight":48,"mainColor":128},218688,"ying-shan-tu-wang-shen-218688","瀛山图","本幅画峻岭回溪，山村茅茨，远水平沙，数艇隐隐。图后一远峰山壁题识云：「保宁赐第王晋卿瀛山既觉，因图梦中所见。甲辰春四月，梦游者。」细审图中绝壑层峦，俱以青绿著色，用笔工细，气韵古雅，良为一梦中山水矣。全画山石以一简单的轮廓线勾勒，再敷以颜色，有古拙之感，近似元代画家钱选的青绿山水，与王诜（约1048—1122）现存的其他作品不类。",[23,24,25,26,27,28,30,62,63,64,116,156,7,118,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78aaab8984587d91e9f82641be9870c.jpg","24.5x145.1cm",[124],{"id":16741,"slug":16742,"title":16743,"dynasty":18,"author":434,"museum":423,"description":16744,"tags":16745,"thumbUrl":16746,"material":555,"size":179,"collection":124,"collections":16747,"showCount":16294,"zanCount":928,"manualWeight":48,"mainColor":49},218601,"qing-hua-tu-yi-ming-218601","清话图","沉墨绘就的林麓间，古树虬枝盘结于岩畔，繁叶如盖，墨色浓淡交织出层次。远处峰峦隐在淡霭里，留白处烟岚轻绕，拓出悠远天地。山石勾勒简练，皴擦见骨，尽显宋画山水的写实韵致。虽无人物，却似有清雅气息漫溢：松风穿叶的簌簌声，石畔流水的泠泠音，隐者清谈的低语仿佛在林间流转。笔墨苍劲中藏细腻，构图疏密得宜，将自然静谧与文人雅趣揉合，尽展宋代山水的空灵意境与人文深味。",[24,475,114,118,30,7,117,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51ba424b20e90531e1d091751b278de.jpg",[124],{"id":16749,"slug":16750,"title":16751,"dynasty":223,"author":2985,"museum":167,"description":16752,"tags":16753,"thumbUrl":16754,"material":122,"size":16755,"collection":124,"collections":16756,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},218430,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-218430","柳浪闻莺御题轴","院藏董邦达（1699 —1769）绘制的「西湖十景」轴共两套，分别作于第一次南巡与第二次南巡之后。两套尺寸不同，但图像相仿，皆出自董邦达于第一次南巡前进献的〈西湖四十景〉册中对十景的描绘。本次展出的两件「柳浪闻莺」，描绘的是西湖「柳浪桥」景。该桥位于南宋御园内，堤岸植柳，迎风摇扬若浪，因而得名。",[24,202,114,28,30,116,63,7,69,118,153,119,120,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8329ccaab65d8759d05b7f651894a0.jpg","126.9x66.8cm",[124],{"id":16758,"slug":16759,"title":16760,"dynasty":54,"author":801,"museum":20,"description":16761,"tags":16762,"thumbUrl":16763,"material":122,"size":16764,"collection":124,"collections":16765,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":128},218333,"tong-shan-tu-tang-yin-218333","桐山图","图绘峭壁间长出桐树数株，其中一株横垂探水；石罅间有泉水汩汩流出，汇入平湖。湖面演漾，浩淼无边；远山逶迤而去。构图有南宋院体影响，皴染则化刚为柔，苍润而醇厚。\n自题：“吾闻淮水出桐山，古来贤哲产其间。君今自称亦私淑，渔钩须当借一湾。吴门唐寅作桐山图。”钤：“吴趋”朱文印、“唐伯虎”朱文印、“南京解元”朱文印。引首王鏊题“清樾吟窝”，拖尾有文徵明、袁袠、蔡羽、王宠、王穉登等十四家题跋。",[23,24,25,26,114,118,120,30,244,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ee14b34e9f652e8869f5cb917cf77c.jpg","纵31.2厘米 横137.5厘米",[124],{"id":16767,"slug":16768,"title":16769,"dynasty":133,"author":355,"museum":167,"description":16770,"tags":16771,"thumbUrl":16772,"material":303,"size":12656,"collection":179,"collections":16773,"showCount":16294,"zanCount":48,"manualWeight":48,"mainColor":49},218120,"hua-xi-yu-yin-tu-er-wang-meng-218120","花溪渔隐图(二)","此图写霅溪风景，款题为玉泉尊舅作。玉泉已不可考。通幅用笔绵密而精工，垂柳一行，与赵孟𫖯「鹊华秋色」卷中画柳之法相同。「花谿渔隐」是从〈桃花源记〉衍生的画题，创始于赵孟𫖯。王蒙是赵孟𫖯的外孙，所受影响，不仅技法而已。",[23,24,152,25,202,114,30,118,115,64,117,7,69,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7477d3604d6b77be3506773dcad374b3.jpg",[],{"id":16775,"slug":16776,"title":16777,"dynasty":223,"author":3775,"museum":20,"description":11896,"tags":16778,"thumbUrl":11898,"material":122,"size":11899,"collection":124,"collections":16780,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":128},301856,"heng-shan-qing-ai-tu-wu-li-301856","横山晴霭图",[23,152,24,25,26,30,114,118,243,7,64,115,156,1705,11754,120,153,16779],"晴霭",[124],30,{"id":16783,"slug":16784,"title":16785,"dynasty":18,"author":14475,"museum":459,"description":14476,"tags":16786,"thumbUrl":16787,"material":808,"size":809,"collection":179,"collections":16788,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":49},288551,"xiao-xiang-ba-jing-tu-juan-yi-wang-hong-288551","潇湘八景图卷一",[24,152,25,26,114,30,7,16377,156,3756,1363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf6f310da9c7a8a88cdef72a9fb5139.jpg",[],{"id":16790,"slug":16791,"title":16792,"dynasty":223,"author":647,"museum":459,"description":15489,"tags":16793,"thumbUrl":16794,"material":808,"size":809,"collection":179,"collections":16795,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":128},288525,"shan-shui-tu-li-zhou-wang-yuan-qi-288525","山水图立轴",[23,152,24,25,202,114,30,118,117,7,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783404b672c1a4de3525377c1613bba.jpg",[],{"id":16797,"slug":16798,"title":16799,"dynasty":223,"author":2985,"museum":459,"description":16800,"tags":16801,"thumbUrl":16803,"material":808,"size":809,"collection":179,"collections":16804,"showCount":16781,"zanCount":928,"manualWeight":48,"mainColor":128},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,152,24,25,26,475,28,30,33,243,37,7,63,676,62,16802,138,156,115,119,153],"古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],{"id":16806,"slug":16807,"title":16808,"dynasty":133,"author":1837,"museum":459,"description":5480,"tags":16809,"thumbUrl":16811,"material":808,"size":809,"collection":179,"collections":16812,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":49},287309,"bai-ma-tu-juan-zhao-meng-fu-287309","百马图卷",[23,152,24,25,26,28,29,61,90,1855,30,7,119,16810],"鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a593e89c3ebaed5bb8b3a9a136f0c5.jpg",[],{"id":16814,"slug":16815,"title":16816,"dynasty":223,"author":16817,"museum":459,"description":16818,"tags":16819,"thumbUrl":16820,"material":179,"size":179,"collection":331,"collections":16821,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":128},239530,"fang-gu-ji-you-tu-ce-huang-yi-239530","访古纪游图册","黄易","此作以淡墨绘就水畔闲景，右侧疏木立异石，浅林掩映茅舍，远山含晕，留白铺就湖面，漾开空濛清寂。枯笔写木，皴擦刻画出湖石奇崛肌理，淡墨轻扫远山晕出水气。\n题跋与画作相映成趣，笔墨简淡秀润，将纪游幽怀寄于萧散景致里。整体意境澹泊静穆，尽显文人林下之风，把江南水畔的闲雅清居，揉进悠悠文心，淡而愈远，简中含情。",[24,25,385,114,437,30,1067,289,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfee47df568b62a35375d8d73831df5.jpg",[331,103],{"id":16823,"slug":16824,"title":16825,"dynasty":54,"author":16826,"museum":459,"description":16827,"tags":16828,"thumbUrl":16829,"material":179,"size":179,"collection":124,"collections":16830,"showCount":16781,"zanCount":928,"manualWeight":48,"mainColor":49},238275,"yu-le-tu-zhou-zhang-ling-238275","渔乐图轴","张灵","张灵，生卒年不详。生于成化，约卒于正德初，年四十左右。字梦晋，吴郡（今江苏苏州）人，家贫，与唐寅为邻，两人志趣相投，茂才相埒。同为府学生员，故交谊最深。画作受唐寅影响极大。工诗文，祝允明弟子。\n少与祝允明、唐寅、文徵明齐名，并称“吴中四子”，性落拓嗜酒，好交游，醉即使酒作狂。所画人物冠服玄古，形色清真，无卑庸之气。间作山水，笔生墨劲，斩然绝尘。并善竹石、花鸟，清新可喜，书法亦佳。",[24,25,202,114,118,61,115,64,528,117,639,30,7,66,688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92163a7d1c8e15870bdf0cbe3eb3953.jpg",[124,103],{"id":16832,"slug":16833,"title":16834,"dynasty":223,"author":16817,"museum":459,"description":16835,"tags":16836,"thumbUrl":16837,"material":179,"size":179,"collection":124,"collections":16838,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":128},237734,"wu-sheng-shi-yi-tu-ce-huang-yi-237734","无声诗意图册","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,25,385,114,28,118,35,7,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83da3788d7a2cc1ffec29df6911883a8.jpg",[124,45],{"id":16840,"slug":16841,"title":16842,"dynasty":223,"author":2792,"museum":111,"description":16843,"tags":16844,"thumbUrl":16845,"material":16846,"size":16847,"collection":124,"collections":16848,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":49},237152,"guan-shan-qiu-ji-zhou-wang-hui-237152","关山秋霁轴","清朝初年，占据画坛时间最长的是“四王”一派 ，即王时敏、 王鉴、 王原祁、 王翚四位王姓山水画代表画家。“四王”视宋元名家的笔法为最高标准，致力于临摹古画或在摹古中追求变化。他们看重笔墨，大多以古人丘壑搬前挪后，构成一种古人已经达到过的理想境界，表现平静安闲的情感状态，体现所谓“士气”与“书卷气”，却较少观察自然，描写具体感受。因为受到统治者的重视和提倡，被尊为正宗，确立了正统地位。他们分为两代人，第一代的王时敏与王鉴是大书画家董其昌的朋友；第二代的王原祁是王时敏之孙，王翚是王鉴的学生。\n《关山秋霁图》正是“四王”之一、王鉴的作品。王鉴，字玄照，号湘碧，自称染香庵主，苏州太仓人，出身于书香门第，是明代文史大家王世贞的曾孙。王鉴擅长画山水，早年曾经得到董其昌的亲自传授，画风向上追溯至五代南唐画家董源、 巨然，多拟仿宋元诸家。他擅长画青绿山水，着色妍丽，又兼长皴染画法。\n什么叫皴染呢？皴（cun村）染是中国画的一种画法。皴，是画中用来表现山石、峰峦和树身表皮的脉络纹理的画法，作画时先勾出轮廓，再用淡干墨侧笔而画；染，是用墨水或淡彩润刷画面，不露或少露笔痕，用来分辨阴阳向背，加强物象的立体感。王鉴的画作风格华润，纤细且不失雅致。他从临摹入手，但并不忽视对丘壑的形象塑造，作品比较平实。\n《关山秋霁图》是王鉴晚年效仿北宋画家范宽的山水画风格所作。此轴为吴大澂、吴湖帆递藏之物，也就是祖孙二人次第传承收藏。吴大澂在裱边处题跋“湘碧老人早年多泼墨淋漓之笔，其精细之作皆在六七十岁……其用意之缜密虽极小处无一懈笔”，写出了王鉴晚年在用笔敷色方面，绘画风格与早年不同之处。值得一提的是，吴湖帆也临摹过一幅《关山秋霁图》，为友人祝寿而作。",[24,202,114,118,30,63,64,116,204,7,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aedd467187047bf2529e2a163cf58ec.jpg","绢本 ，墨笔","纵215.9cm，横113.8cm",[124,103],{"id":16850,"slug":16851,"title":16852,"dynasty":223,"author":16853,"museum":20,"description":16854,"tags":16855,"thumbUrl":16857,"material":179,"size":179,"collection":124,"collections":16858,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":49},236747,"hua-wang-shi-lu-xiang-zhou-zhang-zhu-236747","画王士禄像轴","张翥","张翥字运南，号北林，江苏常熟人，生卒年不详。善画山水、人物、肖像，山水师同乡吴山（南阳），沉郁苍老，馓有气韵。人物写真师法曾鲸，形象逼肖，用笔流畅，秀媚古雅。雍正十年（1732）郡守周某欲绘《贫民图》入告。传世作品有康熙二年癸卯（1663）作《王士禄像》轴，画左上角有冒襄题像赞，现藏故宫博物院。能诗，著有《北林小集》。",[24,25,202,28,29,61,7,69,1473,16856,1525],"桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9354997c8a95fe93096ae2a9e2a5a2be.jpg",[124,45,1822],{"id":16860,"slug":16861,"title":16862,"dynasty":54,"author":3225,"museum":459,"description":16863,"tags":16864,"thumbUrl":16867,"material":179,"size":179,"collection":179,"collections":16868,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":128},235275,"shan-shui-tu-zhou-wang-shan-chui-diao-zhao-zuo-235275","山水图轴（望山垂钓）","《山水图》轴（望山垂钓），明，赵左绘，纸本，设色，纵12.cm，横8cm。\n作者： 赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[24,202,475,28,114,774,29,228,115,1807,2112,7,1376,117,3598,500,274,8642,16865,16866],"恬淡","古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],{"id":16870,"slug":16871,"title":13731,"dynasty":54,"author":5967,"museum":459,"description":16872,"tags":16873,"thumbUrl":16874,"material":179,"size":179,"collection":179,"collections":16875,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":49},234679,"shan-shui-ce-ye-xie-shi-chen-234679","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[152,24,25,385,114,118,30,116,63,64,579,117,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04fd809b857e78cc59b98c607574cb4.jpg",[],{"id":16877,"slug":16878,"title":16879,"dynasty":54,"author":11101,"museum":20,"description":16880,"tags":16881,"thumbUrl":16882,"material":1218,"size":179,"collection":179,"collections":16883,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":128},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,24,25,26,114,28,30,118,120,119,1158,117,7,64,63,116,156,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":16885,"slug":16886,"title":16887,"dynasty":133,"author":6997,"museum":20,"description":16888,"tags":16889,"thumbUrl":16890,"material":13293,"size":16891,"collection":179,"collections":16892,"showCount":16781,"zanCount":928,"manualWeight":48,"mainColor":49},233844,"hua-shan-shui-zhou-li-shi-xing-233844","画山水轴","李士行山水图取境开阔，中间以一高峰为主体，四周群山相扶。雾气弥漫的、深远的山涧有一清流涌出，并化为平静的河水缓缓向前流淌。整个画面布局平稳，境界平淡天然。此画用笔温和秀润，多用披麻皴，墨色变化丰富，水色淋漓。其浓淡相间，以淡墨皴染，浓墨画近树和点苔，层次分明。",[24,25,202,114,28,30,7,117,64,500,118,206,674,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca3bbb245b9e71fbb9e96e768f35a36.jpg","纵：106.2厘米，横：52.7厘米",[],{"id":16894,"slug":16895,"title":16896,"dynasty":133,"author":4160,"museum":20,"description":16897,"tags":16898,"thumbUrl":16899,"material":140,"size":16900,"collection":179,"collections":16901,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":128},233203,"zuo-kan-yun-qi-tu-ye-sheng-mao-233203","坐看云起图页","图绘古木平岗，林木错落有致，一士人手执如意，席地而坐，岗下山石嶙峋，水中苇草丛生；远处双雁振翅，云雾迷蒙，山峰隐现于云海之中。本幅图体现了雅士宁静的生活情趣。",[24,25,2895,114,28,118,30,881,579,156,61,117,500,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567c9ea4707965f97951bafa9c5e46b8.jpg","纵27cm; 横28cm.",[],{"id":16903,"slug":16904,"title":16905,"dynasty":18,"author":434,"museum":167,"description":16906,"tags":16907,"thumbUrl":16908,"material":140,"size":16909,"collection":179,"collections":16910,"showCount":16781,"zanCount":928,"manualWeight":48,"mainColor":49},233015,"chun-you-wan-gui-tu-ye-yi-ming-233015","春游晚归图页","图绘一老臣骑马踏青回府，前后簇拥着10位侍从，或搬椅，或扛兀，或挑担，或牵马，忙忙碌碌。\n老臣持鞭回首，仿佛意犹未尽，表现了南宋官僚偏安江南时的悠闲生活，令人想起南宋林升《题临安邸》一诗：\n\n“山外青山楼外楼，西湖歌舞几时休？\n暖风熏得游人醉，直把杭州作汴州！”\n\n所绘景物十分优雅，柳林成浪，宫城巍峨，人马虽不盈寸，但须眉毕现，姿态生动，线条流畅，色彩简洁明朗。",[24,152,28,29,61,90,7,62,426,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bc4b22ebdbfe5a601c55afb8e03b4d.jpg","24.2cm*25.3cm",[],{"id":16912,"slug":16913,"title":16914,"dynasty":3235,"author":16915,"museum":459,"description":16916,"tags":16917,"thumbUrl":16918,"material":808,"size":809,"collection":179,"collections":16919,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":49},230589,"jiang-hu-shi-dai-lou-ge-shan-shui-tu-ping-feng-12-kai-chi-da-ya-230589","江户时代楼阁山水图屏风12开","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[24,25,174,28,59,30,62,61,63,7,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20545c3e86b58644149fb020c8ccf4e8.jpg",[],{"id":16921,"slug":16922,"title":16923,"dynasty":223,"author":858,"museum":514,"description":859,"tags":16924,"thumbUrl":16926,"material":140,"size":869,"collection":179,"collections":16927,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":128},230104,"hong-lou-meng-185-sun-wen-230104","红楼梦185",[24,29,28,61,62,269,117,591,7,70,1856,16925],"窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b4ef23ad965b1028c930df54eac1c.jpg",[],{"id":16929,"slug":16930,"title":16931,"dynasty":223,"author":16932,"museum":459,"description":16933,"tags":16934,"thumbUrl":16935,"material":179,"size":179,"collection":179,"collections":16936,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":128},229012,"shi-jun-ma-tu-wang-zhi-cheng-229012","十骏马图","王致诚","《千姿百态画骏马》是一本书籍，上海书店出版社; 第1版 (26年月1日)出版，开本16。\n丛书名: 国画训练新编系列2 平装: 页 正文语种: 简体中文 条形码: 786784845, 978786784846 尺寸: 28.5 21.2 . cm 重量: 181 g 《千姿百态画骏马》内容简介：在中同美术史上，几乎每个朝代的艺术作品都有以马为题材的杰作。\n如先秦时代青铜器盠驹尊，秦始皇陵出土的大批陶马俑、四汉霍去病墓前的《马踏匈奴》石雕、东汉青铜器《马踏飞燕》、唐代画马高手韩斡笔下的《神骏图》、韦偃画了两千余匹千姿百态骏马的《牧放图》、宋代李公麟的名作《五马图》、元代赵孟頫的《浴马图》，明代仇英的《秋园猎骑图》、清代王致诚的《十骏马图》，直至近代徐悲鸿的大量奔马立马图……由此可见，马是中国历代艺术家最热衷的题材之一。",[24,25,29,28,90,117,7,591,119,153,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266c74560a21981e18d0b59b83e4fb52.jpg",[],{"id":16938,"slug":16939,"title":16940,"dynasty":54,"author":2636,"museum":459,"description":16941,"tags":16942,"thumbUrl":16943,"material":179,"size":179,"collection":179,"collections":16944,"showCount":16781,"zanCount":928,"manualWeight":48,"mainColor":128},228868,"dong-yuan-tu-juan-wen-zheng-ming-228868","东园图卷","《东园图卷》是文徵明的作品，绢本，纵：.2cm，横：126.4cm。\n现收藏于 ，画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细。\n名称：明文徵明东园图卷 类别：中国古画 年代：明代 文物原属：故宫旧藏 文物现状：现藏台北故宫博物院 图卷，绢本，设色画，纵：.2cm，横：126.4cm。\n东园位于南京钟山东凤凰台下，原是明代开国重臣中山王徐达的赐园，名为“太府园”，后来其五世孙徐泰时加以修葺扩建，辟作别墅，更名“东园”。\n园内叠有峰嶂，川泽相通，灵岩怪石环列前后，奇花异草郁郁葱葱，亭台楼阁错落有致。\n与徐氏友善的时贤名士常雅集于东园之中，或谈诗论文，或品茗抚琴，或宴乐弈棋，或赏玩书画，其乐融融，快意畅然。\n《东园图》是明四家之一的文征明于61岁（明嘉靖九年，15年）时绘制的，表现了东园雅集时的情景。\n情景图中板桥横于潺潺细流之上，青松翠竹遥相呼应，湖石疏置，碧树成荫，池水为清风吹皱，泛起层层涟漪。\n甬路上二文士边走边谈，携琴童子相随其后；堂内四人凝神赏画，另有手捧数轴书画的小童立侍桌旁，水榭之中对弈的两人神态悠闲安逸。\n文徵明的绘画有两种风格：一是宗法沈周、吴镇，呈水墨粗笔面貌，世称粗文；一是师从赵孟頫、王蒙，多青绿重染，工细缜密，世称细文。\n文氏早年以工细为主，中年之后粗细兼能，愈晚愈工。\n《东园图》便是他晚年细笔的精品。\n画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细，正如王原祁所言：“色不碍墨，墨不碍色，又须色中有墨，墨中有色。\n”全图虽以青绿设色法为之，却丝毫不见工匠之气，充盈于画面的是闲适雅致的文人气息，画中人物颇有魏晋之际名士的风神格调，这是文氏此类雅集题材绘画超乎常人之处。\n图之引首有徐霖隶书“东园雅集”四字。\n画面右上端有篆书“东园图”三字，画尾有款“嘉靖庚寅秋徵明制”，下钤“ 停云”、“玉兰堂印”、“徵仲”等印四方。\n卷后尾纸上有湛若水楷书《东园记》和陈沂行书《太府园讌游记》二则。",[23,152,24,25,26,29,28,61,62,116,63,64,289,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cb802217ebcd0c9524ab578c39dc66.jpg",[],{"id":16946,"slug":16947,"title":16948,"dynasty":54,"author":3786,"museum":266,"description":16949,"tags":16950,"thumbUrl":16951,"material":179,"size":179,"collection":179,"collections":16952,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":128},228312,"xun-yang-qiu-se-tu-quan-juan-lu-zhi-228312","浔阳秋色图全卷","近岸坡坨疏林错落，霜叶点染秋意，远渚青岫浮沉烟霭，一江秋水空濛无际，铺展出江天寥廓的清寂秋光，暗合江州送客的孤凉心境。\n\n整卷诗书画共生，卷首擘窠大字雄沉苍劲，小楷录《琵琶行》全诗文雅端润，笔意随文辞跌宕，把迁客失意羁愁，融在水墨秋光中。画境萧瑟清和，书意或沉郁或秀雅，将曲中天涯沦落的怅惘落寞，与江色秋容织为一体，尽显诗画共情的文人雅趣。",[23,24,25,26,28,118,120,153,30,7,32,115,500,775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312ff3b95e0169d0f7879fc0be151e48.jpg",[],{"id":16954,"slug":16955,"title":16956,"dynasty":54,"author":3582,"museum":459,"description":16957,"tags":16958,"thumbUrl":16959,"material":179,"size":179,"collection":179,"collections":16960,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":49},228288,"lin-xia-gao-shi-chen-hong-shou-228288","林下高士","画作以枯荣相衬的林木构起幽境，两位高士席地对坐，姿态安闲，似在晤言清谈。流泉隐于林石间，远处茅亭藏于麓林深处，尺幅之中铺展出清寂雅致的林下天地。\n\n设色调和古雅，青绿叶色与枯木寒枝形成鲜明对照，山石勾勒奇崛苍劲，带着朴拙古意。鲜妍设色未露半分媚俗，反倒衬出林境沉静出尘的气质，将文人遁迹丘山、寄情林泉的雅怀藏入画面。构图疏密相宜，笔端静穆雅致，把林下雅集的散逸清旷尽数铺展，尽显古雅出尘的隐逸意趣。",[23,24,25,28,29,30,61,116,579,117,7,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0debeaf5261a36d5a12e371c8f048cd3.jpg",[],{"id":16962,"slug":16963,"title":16964,"dynasty":18,"author":944,"museum":459,"description":16965,"tags":16966,"thumbUrl":16967,"material":179,"size":179,"collection":179,"collections":16968,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":49},227953,"tu-ye-zhao-bo-ju-227953","图页","此作为典型宋代青绿山水，石青、石绿晕染山峦，厚重雅致间衬以赭石暖调，冷暖相映，晕化出山水层叠悠远的空蒙意境。\n\n画面开合有度，远山嵯峨葱郁，近渚水色澹澹，坡岸苍松劲挺成林，生机盎然。水岸营寨旌旗飘展，泊船静立，身形微小的人物情态具足，行旅场面写实生动，将山水之秀与行旅之境相融。\n\n它承继唐代青绿山水的明艳富丽，又兼具宋代院体画的精工写实，笔致细腻秀雅，兼顾全景意境与细节刻画，把随行驻泊的日常图景置于秀山丽水间，尽显宋画雅致隽永的山水意趣。",[23,152,24,25,27,28,29,30,61,115,64,7,156,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5813535dd91fdde5ef9a939c994bbe3f.jpg",[],{"id":16970,"slug":16971,"title":16972,"dynasty":18,"author":713,"museum":459,"description":16973,"tags":16974,"thumbUrl":16975,"material":179,"size":179,"collection":179,"collections":16976,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":49},227805,"can-shi-tu-liu-song-nian-227805","蚕事图","整作以全景式铺陈桑蚕劳作日常，分构两处空间。左侧棚下匠人各司其职，抽丝、分拣有条不紊；右侧窗内，闺中女眷闲坐观览，将劳作与闲憩相映成趣，右上角民夫搬运蚕茧，更添烟火劳顿之气。\n\n画作以淡墨白描绘就，线条清雅柔和，屋舍瓦楞、林木枝桠皆刻画入微，人物神态鲜活自然。将江南蚕织农家的日常图景如实铺展，平和质朴间尽现宋代田园的生活真味，把风俗烟火融于清淡笔墨中，尽显写实风俗画的雅致意趣，藏着宋时江南的悠悠烟火意。",[24,25,152,29,28,59,26,61,35,7,7154,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e367156bf61318f3d34559af6f02c1.jpg",[],{"id":16978,"slug":16979,"title":16980,"dynasty":18,"author":312,"museum":459,"description":4739,"tags":16981,"thumbUrl":16982,"material":179,"size":179,"collection":179,"collections":16983,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":985},227725,"shan-gu-ji-liu-tu-xia-gui-227725","山谷激流图",[24,152,25,30,114,118,202,117,7,4677,64,4638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e099048944fdf9181b06d03954f9172.jpg",[],{"id":16985,"slug":16986,"title":16987,"dynasty":3235,"author":434,"museum":459,"description":16988,"tags":16989,"thumbUrl":16992,"material":808,"size":809,"collection":179,"collections":16993,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":1138},225511,"fu-shi-hui-269-yi-ming-225511","浮世绘269","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[15217,28,11574,61,170,3315,175,1344,16990,7,16991],"建筑局部","夜色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9477f0c79b912efa6ccb9ab290224577.jpg",[],{"id":16995,"slug":16996,"title":16997,"dynasty":223,"author":16998,"museum":459,"description":16999,"tags":17000,"thumbUrl":17002,"material":179,"size":179,"collection":179,"collections":17003,"showCount":16781,"zanCount":928,"manualWeight":48,"mainColor":128},224602,"xiao-pin-1-peng-qiao-224602","小品1","蓬樵","此作用平远之法绘就水岸林泉，近渚古木清森，枝桠舒展含姿，林梢掩映间透出村居一角，野意自生。留白作水，虚处见烟波澹荡之意。远山以干笔淡墨皴写，石棱隐现、苔点错落，丘壑简而有味。\n\n画风师法倪瓒，笔墨松秀苍润，简逸空灵。整幅以淡墨铺陈，萧散简远，将江南水岸清寂淡远的幽谧意境尽显。题印朱白相映，衬出画面的古雅淡远，尽显文人画疏旷清逸的意趣，暗合幽栖林泉的雅逸襟怀。",[23,24,25,17001,114,118,30,7,117,153],"小品","https:\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。如此幅钩云点苔，随意不羁，风格简逸，而山川精气更在水墨精微中见出，体现元代道士藉山水追求清静自然，心灵解脱之哲学，用笔草草，意境无穷。",[23,24,152,25,202,114,118,30,116,7,153,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F693e4c4c741ebf8c7d852d6aa0cb4a93.jpg","纵62.1cm，横27.9cm",[124,103],{"id":17046,"slug":17047,"title":17048,"dynasty":18,"author":6327,"museum":459,"description":17049,"tags":17050,"thumbUrl":17051,"material":28,"size":17052,"collection":42,"collections":17053,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":128},221660,"dan-lin-shi-yi-tu-xiao-zhao-221660","丹林诗意图","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,152,24,25,5161,475,28,118,30,7,968,61,206,244,500,10009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748026f20ec78e9dc7af37233ab41e7e.jpg","28x52",[42,124,45],{"id":17055,"slug":17056,"title":599,"dynasty":18,"author":17057,"museum":551,"description":17058,"tags":17059,"thumbUrl":17061,"material":1410,"size":17062,"collection":42,"collections":17063,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":128},221584,"shan-shui-tu-li-an-zhong-221584","李安忠","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 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能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[24,25,26,114,118,30,341,37,7,35,153,38,64,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 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王端造字样，其笔法以郭熙的笔法为基础，并参考了王蒙的方法。",[23,24,25,202,114,118,30,213,205,117,7,994,204,63,64,676,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809626f0514a46b69b38d7c1727dc236.jpg","178.4x48cm",[124],{"id":17133,"slug":17134,"title":17135,"dynasty":18,"author":17136,"museum":266,"description":17137,"tags":17138,"thumbUrl":17139,"material":303,"size":17140,"collection":44,"collections":17141,"showCount":16781,"zanCount":928,"manualWeight":48,"mainColor":128},217974,"shi-liu-ying-zhen-tu-fan-long-217974","十六应真图","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[23,24,25,437,923,61,540,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d16fbc634607e2716bf2bb96a0708.jpg","30.5x1062.5",[44],{"id":17143,"slug":17144,"title":17145,"dynasty":54,"author":434,"museum":382,"description":11961,"tags":17146,"thumbUrl":17147,"material":122,"size":179,"collection":179,"collections":17148,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":128},217950,"ming-ren-shan-shui-hua-ce-wu-yi-ming-217950","明人山水画册(五)",[23,24,114,118,385,30,994,64,117,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7014b1cc71d2ca5aa50dfaec6b52598f.jpg",[],{"id":17150,"slug":17151,"title":599,"dynasty":223,"author":17152,"museum":382,"description":17153,"tags":17154,"thumbUrl":17155,"material":78,"size":17156,"collection":124,"collections":17157,"showCount":16781,"zanCount":48,"manualWeight":48,"mainColor":49},217263,"shan-shui-tu-dai-zi-lai-217263","戴子来","戴子来是中国清朝时期著名的画家、诗人，他的山水图在中国绘画史上具有重要地位。\n\n戴子来的山水图与其他画家的作品有很大的不同，他的作品常常给人以深刻的感受和富有韵味的艺术氛围。他的山水图常常描绘出细腻的山水景观，并结合自然与人文景观。他运用了浓重的色彩和抽象的线条，使作品充满了动感和生机。\n\n戴子来的山水图代表了他对自然界的深刻理解和敬畏之心。他的作品常常描绘出大自然的壮丽景观，如山峰、河流、湖泊等，表现出自然界的种种美好。此外，他还善于运用抽象的笔触勾勒出自然界的神秘感，使作品充满了趣味性。\n\n总的来说，戴子来的山水图在中国绘画史上具有重要地位，他的作品常常给人以深刻的感受和富有韵味的艺术氛围，值得我们去欣赏和品味。",[23,24,28,118,202,30,62,63,7,117,204,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae51318f27e987f219edd71114d8c63.jpg","121.9x53.5cm",[124],{"id":17159,"slug":17160,"title":17161,"dynasty":133,"author":1837,"museum":459,"description":5480,"tags":17162,"thumbUrl":17163,"material":808,"size":809,"collection":179,"collections":17164,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":49},290413,"shan-shui-tu-juan-wei-zhao-meng-fu-290413","山水图卷（伪）",[23,24,25,26,27,28,30,138,35,7,5233,1704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff568bd01744e2038c0a18a7d77628d07.jpg",[],29,{"id":17167,"slug":17168,"title":17169,"dynasty":18,"author":685,"museum":167,"description":17170,"tags":17171,"thumbUrl":17172,"material":303,"size":2648,"collection":179,"collections":17173,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":128},288510,"xi-shan-qiu-se-tu-zhao-ji-288510","溪山秋色图","图中描绘的烟岚雾气迷漫，群峰隐现其间，溪水曲环，江面空阔，渔民捕捞，舟船停泊，秋叶杂树点缀在山头坡岸，完全是一派江湖渔乐的景象。画法上用笔潇洒，点染苍润，是当时画院中的另一种风格。全图中天空留白很大，用鸟瞰法取景，表现出无限辽阔深远的意境。",[152,24,475,114,30,37,7,206,115,2869,153,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78fc1823a0c76aefdc06a6fe20acc6e1.jpg",[],{"id":17175,"slug":17176,"title":17177,"dynasty":18,"author":6641,"museum":167,"description":6642,"tags":17178,"thumbUrl":17180,"material":808,"size":809,"collection":179,"collections":17181,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":49},288420,"shan-cun-gui-qi-tu-yan-ci-yu-288420","山村归骑图",[152,24,30,114,118,117,7,37,17179,90,153,10585],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4996dfe72e1b851417cc3efdcb3e355c.jpg",[],{"id":17183,"slug":17184,"title":17185,"dynasty":18,"author":685,"museum":459,"description":17186,"tags":17187,"thumbUrl":17189,"material":808,"size":809,"collection":179,"collections":17190,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":49},288414,"wen-hui-tu-fang-zhao-ji-288414","文会图（仿）","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,24,152,28,29,61,17188,804,70,7,2938,274],"文会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9608e8664c446348b04bd926218dfd05.jpg",[],{"id":17192,"slug":17193,"title":6479,"dynasty":54,"author":5967,"museum":459,"description":17194,"tags":17195,"thumbUrl":17196,"material":808,"size":809,"collection":179,"collections":17197,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":128},287609,"shan-shui-tu-zhou-xie-shi-chen-287609","谢时臣，明代画家，字思忠，号樗仙，吴（今江苏省苏州市）人。谢时臣工山水，师法吴镇， 得沈周笔意而稍变。多作长卷巨幛，峰峦雄伟。尤善画水，江河湖海，种种皆妙。笔墨纵横自如，富有气势，介乎戴进和沈周之间。唯刻画不 够精微，殊少秀韵。",[23,152,24,25,202,114,118,30,62,63,64,116,117,7,61,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527df7914879b235439099ab530acc9.jpg",[],{"id":17199,"slug":17200,"title":17201,"dynasty":223,"author":17202,"museum":20,"description":17203,"tags":17204,"thumbUrl":17205,"material":179,"size":179,"collection":124,"collections":17206,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":128},239054,"tang-ying-shan-shui-zhou-tang-ying-239054","唐英山水轴","唐英","此作用淡墨晕染出江南山居的悠然意趣，全景构图层层铺展，意境清寂淡远。远景山峦轻笼烟霭，平湖开阔澄澈，三两渔舟泛于波上，漾开闲静况味。中景坡岸虬松葱郁，村居错落相依，板桥横溪接引往来，揉入日常烟火暖意。近景庭院深隐林间，田亩溪涧环合相拥，将林下栖居的隐逸之趣藏入笔墨中。\n\n全画笔墨松秀柔和，以淡皴轻擦区分丘壑层次，弃绝浓丽设色，凭墨色干湿浓淡铺陈层次，尽显文人山水特有的简淡萧散，把江南乡野的静雅诗意晕染开来，藏着冲淡平和的文人心绪。",[24,114,202,30,63,64,116,156,7,117,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d73145b572ef6ffbad105060f81b9cb.jpg",[124],{"id":17208,"slug":17209,"title":11835,"dynasty":223,"author":17210,"museum":20,"description":17211,"tags":17212,"thumbUrl":17213,"material":1218,"size":17214,"collection":124,"collections":17215,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":128},238133,"qiu-shan-xing-lv-tu-zhou-fang-cong-238133","方琮","此图是方琮的代表作品之一。图中峰峦叠幛，林木入秋，溪流小桥，行旅者行进其间。整幅画面布局巧妙，结构严谨，房舍及行旅商贾无不似从元人笔下而来，属雅俗共赏之作。",[24,25,152,202,28,118,30,2042,117,7,64,204,35,63,968],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7f98f4a5433087a38e8a85bd4c7fcf.jpg","纵186.6厘米，横153.3厘米",[124,45],{"id":17217,"slug":17218,"title":1178,"dynasty":223,"author":10222,"museum":459,"description":17219,"tags":17220,"thumbUrl":17221,"material":179,"size":179,"collection":124,"collections":17222,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":128},237466,"shan-shui-zhou-jiang-yun-237466","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒",[24,202,30,114,118,116,204,117,7,71,25,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379f525512d15f8340c282baf34191bd.jpg",[124,103],{"id":17224,"slug":17225,"title":17226,"dynasty":223,"author":1310,"museum":20,"description":17227,"tags":17228,"thumbUrl":17229,"material":1218,"size":17230,"collection":124,"collections":17231,"showCount":17165,"zanCount":928,"manualWeight":48,"mainColor":49},236106,"tang-dai-qing-luan-chun-ai-tu-zhou-tang-dai-236106","唐岱晴峦春霭图轴","此图为竖构图，虽布置繁密却不杂乱。层次分明，经营有序，过渡自然，彼此虚实相生、错落有致。用笔秀劲凝重，深沉厚实，境界深远，墨色苍厚明润，变化丰富有灵气，可以看出作者状物写情的修养和功力。在技法上作者运用了勾、皴、点、染多种表现形式，如山石先用干笔皴擦，再以浓墨横笔点苔，使画面富有立体感。整幅画面色泽淡雅，在近石、远山及亭台上略施淡赭和花青，烘托出高雅幽然的意境。\n此画轴综观画面，重山叠嶂，霭横暗峦，曲流小径，回旋辗转，蜿蜒于隔山之壑。其间水榭山居，高树疏林，疏密有致，加之亭台小桥，别有韵味。好一派万物复苏，生机盎然的春季之景。那高低起伏的山峰层层错落，渐次推远，在蒸腾的云雾中忽隐忽现，最终消失在苍茫的水天之际。\n春霭缭绕，横贯于山腰之间，把远山近石自然地衔接起来，使整个画面意境幽远，静寂悠闲。山顶上、河岸上都长满了各种草木，有的顽强的扎根于石缝间，姿态挺拔俊秀，虽不比盛夏之苍茂，然比之深秋之萧瑟，寒冬之疏落，则充满生命的活力。远处山崖间瀑布高悬，如银河一般飞流直下，直冲烟岚之中，汇成溪流，顺着蜿蜒的溪岸流淌而来。笔者仿佛听到潺潺的流水声与远处瀑布的轰鸣声自然交汇，传人山谷，直至那浩茫的远山，又回荡在树石草木之间，与鸟鸣、树声、风声交融在一起，构成了一部天然的交响乐，这便是所谓的天籁之音吧!看那山间平台上、坡岸上、溪流上两三点缀的水榭亭台，在树木的掩映下若隐若现，使画面又透露着一种幽深的意味。面对如此美景，真想走出书斋把自己的身心融入这画一般纯洁平静的大自然中，去倾听那美妙的“乐音”。",[24,25,202,28,118,30,243,7,64,37,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f247378ce430f21abc039c0e4473ae.jpg","108 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从而给人更为全面、强烈的视觉感受。\n此图具有极强的真实感，画家以工整细腻的笔法一丝不苟地刻画人物与建筑。\n虽然人物众多，各个小仅寸许，但是造型比例准确，衣冠穿戴合乎典制，乾隆皇帝等重要人物不失肖像画的特征，具有重要的历史价值。\n乾隆五十一年（1786年），居台湾的福建籍天地会首领林爽文率众起义，反抗清政府驻台腐败的吏治。\n乾隆皇帝面对如火如荼的起义，从乾隆五十二年（1787年）始，多次遣兵派将赴台镇压，同时命钦差大臣福康安督办军务。\n清军在有勇有谋的福康安指挥下，仰仗与天地会党敌对的台湾各地“义民乡勇”的密切配合，终于扭转了处处被动挨打的局面，先后拘捕了起义军领袖林爽文、庄大田等人。\n乾隆皇帝于镇压起义后，有针对性地采取了一些措施，如在乾隆五十三年（1788年）批准了经大学士、九卿议覆，福康安上奏的《清查台湾积弊酌筹善后事宜》章程十六条，以严明台湾吏治、加强管理，从此，清政府对台湾的统治进入了一个新的阶段。\n为了纪念平定台湾的胜利，乾隆皇帝命宫廷画家按照每打一次大的战役，画一本战图册的惯例，创作一套纪实性的《平定台湾战图册》。\n此图册从乾隆五十二年十月二十八日，将军福康安统兵进发台湾开始，至乾隆五十三年乾隆皇帝在避暑山庄款待得胜而归的将士止，表现了解嘉义之围、大埔林战役、斗六门战役、大里栰战役、集集埔等大大小小的战役十余起，形象地记录了镇压林爽文起义的经过。",[23,24,25,28,29,59,26,61,62,70,7,592,1420,760,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c22e95113d4b8059a9049e6a536f14.jpg",[],{"id":17359,"slug":17360,"title":17361,"dynasty":223,"author":858,"museum":514,"description":859,"tags":17362,"thumbUrl":17363,"material":140,"size":869,"collection":179,"collections":17364,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":128},223070,"hong-lou-meng-56-sun-wen-223070","红楼梦56",[23,24,25,29,28,27,61,8068,90,63,64,30,7,62,74,38,69,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa186e96779f40e9867ffeb1c4651429c.jpg",[],{"id":17366,"slug":17367,"title":17368,"dynasty":223,"author":858,"museum":514,"description":859,"tags":17369,"thumbUrl":17371,"material":140,"size":869,"collection":179,"collections":17372,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":128},223064,"hong-lou-meng-50-sun-wen-223064","红楼梦50",[23,29,28,59,61,62,154,70,173,1665,170,117,7,17370,1344,69,694],"窗棂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc423ebba504eb711cbd7c6339c40a038.jpg",[],{"id":17374,"slug":17375,"title":13610,"dynasty":54,"author":17376,"museum":167,"description":17377,"tags":17378,"thumbUrl":17379,"material":177,"size":17380,"collection":124,"collections":17381,"showCount":17165,"zanCount":928,"manualWeight":48,"mainColor":49},222502,"shan-yu-yu-lai-tu-zhou-zhang-lu-222502","张路","此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[23,24,114,202,118,30,117,7,37,502,61,64,289,7101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dda3aeabd6bd882d906bf05d7ad4cc6.jpg","纵147厘米，横105厘米",[124,103],{"id":17383,"slug":17384,"title":17385,"dynasty":18,"author":1816,"museum":20,"description":17386,"tags":17387,"thumbUrl":17388,"material":40,"size":17389,"collection":42,"collections":17390,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":49},221627,"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-tu-juan-quan-juan-ma-he-zhi-221627","诗经·小雅·节南山之什图卷全卷","马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教",[24,25,26,437,28,30,61,7,116,119,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555b229615a13e54be0497c1481073c.jpg","纵26.2厘米，横857.6厘米",[42,124,45],{"id":17392,"slug":17393,"title":17394,"dynasty":54,"author":955,"museum":2458,"description":17395,"tags":17396,"thumbUrl":17397,"material":385,"size":2462,"collection":179,"collections":17398,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":179},220753,"fang-ge-jia-shan-shui-3-dong-qi-chang-220753","仿各家山水-3","此作用淡墨干笔写就远近山水，远景山峦皴擦松灵，坡岸随水势蜿蜒铺展，留白作水，晕染出空蒙悠远的湖山烟意，林石隐现其间，简淡空灵。近景古木虬曲苍劲，以浓淡墨色区分枝桠枯荣，层叠错落间掩映着临水村居，板桥卧波连起汀岸，野趣盎然。\n全画笔墨秀润松脱，以留白营造出幽寂空茫的意境，将山水淡远之致与林下幽居的雅静相融，尽显平淡天真的文人意趣，于简率笔墨中蕴含静穆悠长的诗意，淡而不薄，简而不空，尽显山水悠远淡寂的林下雅境。",[23,24,25,114,118,60,30,117,7,63,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d3f7e74473aa4b84bb40d391a020b7.jpg",[],{"id":17400,"slug":17401,"title":17402,"dynasty":1743,"author":5400,"museum":5177,"description":17403,"tags":17404,"thumbUrl":17405,"material":179,"size":179,"collection":179,"collections":17406,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":128},220572,"jiu-fang-gao-xu-bei-hong-220572","九方皋","山野风色裹着粗粝的生机，老者静立崖边，目光越过皮毛叩问龙马的骨血，沉静神态藏着识珠的笃定。牵马汉子筋肉虬结、野性勃发，与老者的沉稳形成强烈反差。\n\n画面以笔墨塑风骨，线条凝练遒劲，糅合西画体积感与东方白描意趣。马匹神形各异，或昂首长嘶、或垂首闲食，野趣盎然。画作将伯乐识贤的典故融于田间小景，借相马喻识人，朴素场景里藏着对英才不问出身的深切期许，笔墨间满溢沉厚真挚的人文温度。",[23,24,25,28,114,437,4311,61,90,411,7,1743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03f353d2c8b3af414b1b65a034610f6.jpg",[],{"id":17408,"slug":17409,"title":11886,"dynasty":54,"author":4044,"museum":266,"description":17410,"tags":17411,"thumbUrl":17412,"material":122,"size":17413,"collection":124,"collections":17414,"showCount":17165,"zanCount":928,"manualWeight":48,"mainColor":128},220416,"qiu-jing-shan-shui-tu-sun-zhi-220416","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[23,24,26,114,28,30,994,156,358,500,502,289,29,118,7,1391],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd0e13ab93b8454684db3a24e5563cd.jpg","28.2×120.9厘米",[124],{"id":17416,"slu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横58.9厘米",[44],{"id":17461,"slug":17462,"title":17463,"dynasty":54,"author":434,"museum":4439,"description":17464,"tags":17465,"thumbUrl":17466,"material":78,"size":17467,"collection":44,"collections":17468,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":128},219591,"di-shi-qi-luo-han-tu-yi-ming-219591","第十七罗汉图","主尊罗汉安坐石上，头覆圆光，神情沉静慈悲，衣纹敷色厚重雅致，红绿配色沉稳古朴。左侧深肤梵僧恭谨侍立，右侧胡貌信徒躬身礼拜，尽显虔敬姿态。背景以淡墨晕染山林，云烟隐现间错落仙灵异兽，烘托出幽寂空灵的禅林意境。\n\n整幅构图主次分明，设色古雅沉稳，线条勾勒凝练流畅，兼具宗教绘画的庄严静穆，又暗含工致细腻的笔致。将罗汉清净无染的出世之姿，与世俗礼拜的恭敬情态相融，绘就出充满禅意的佛国图景，尽显古拙端严的宗教美术气韵。",[24,25,202,28,29,923,61,30,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7e73192d5c5624e3ad6338eff44cfed.jpg","纵183.5横104.8厘米",[44],{"id":17470,"slug":17471,"title":17472,"dynasty":54,"author":2132,"museum":167,"description":17473,"tags":17474,"thumbUrl":17478,"material":122,"size":17479,"collection":331,"collections":17480,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":128},218794,"bai-lu-tu-zhang-hong-218794","百禄图","张宏，字君度，号鹤涧，江苏吴县人。生于明神宗万历七年（西元一五七七年），至清圣祖康熙八年（西元一六六八年）尚健在。工山水，笔意古拙，墨法清润。人物写意，天然入格。\n本幅画乔松古柏，岩鹿群游。款：「辛巳秋八月，吴门张宏写。」鹿向被认为是长寿之仙兽，且「鹿」「禄」「柏」「百」谐音，故题名「百禄」，以取富贵爵禄之意。",[24,114,28,118,30,1855,3095,540,117,64,7,13495,4014,2421,206,244,17475,3503,17476,1191,6180,6017,17477,228,29],"鹿群","山景","笔墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89428a5fc63b071b5b27d40c46585043.jpg","170.4x77.2cm",[331],{"id":17482,"slug":17483,"title":17484,"dynasty":54,"author":10006,"museum":167,"description":17485,"tags":17486,"thumbUrl":17487,"material":78,"size":179,"collection":124,"collections":17488,"showCount":17165,"zanCount":48,"manualWeight":48,"mainColor":128},214617,"shui-cheng-tu-ce-tai-cang-qian-gu-214617","水程图册-太仓","钱穀（1718-1778）是一位著名的中国古代地理学家和旅行家。他在明朝末期，著有著名的旅行记录作品《水程图册》。《水程图册》是一部珍贵的历史文献，记录了钱穀旅行时所见到的各种河流、港口、城市、商路等信息。其中，太仓章节是钱穀对太仓的描述。\n\n太仓是位于今天的江苏省的一座古城，历史悠久，是明朝时期的重要港口和商路要地。钱穀在《水程图册》中对太仓的描述非常详细，包括了太仓的地理位置、交通情况、港口设施、商业情况等。他提到，太仓港口设施完善，有多条航道，船只可以在港内停泊。太仓是一个重要的商路要地，有丰富的商品流通，包括铜器、茶叶、香料、木材等。太仓还有许多古迹和名胜古迹，例如著名的太仓大堤。\n\n《水程图册》是一部重要的古代地理学著作，其中的太仓章节是对太仓的珍贵记录，为我们了解明朝时期太仓的历史、地理、经济、文化等方面提供了宝贵的参考资料。",[24,25,385,114,28,63,64,115,35,7,30,153,138,69,1446,34,500,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc90d1740797b3391febe2b0c80bee24.jpg",[124],{"id":17490,"slug":17491,"title":7784,"dynasty":18,"author":434,"museum":459,"description":17492,"tags":17493,"thumbUrl":17495,"material":808,"size":809,"collection":179,"collections":17496,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":49},289782,"xi-shan-chun-xiao-tu-yi-ming-289782","平远视角铺展出江南早春的缱绻景致，淡墨晕染山峦，烟岚轻笼起伏丘壑，晕开朦胧温润的春日底色。坡岸桃枝缀着浅绯新花，杂木抽芽，深浅绿意与粉红花色交织，漫开融融春意。\n\n溪湾回环，水面空明如镜，三两渔舟泛波，艄公悠然摇橹，野舍错落藏于林麓间，溪桥横陈连通幽境。笔墨秀雅清润，水墨间施淡彩，轻重相宜地勾勒出春日山水的柔婉生机，将江南乡野的静谧恬美尽数铺陈，把春风拂过溪山的温柔瞬间定格绢素，尽显平和悠远的山水雅意。",[23,152,24,26,28,30,118,243,7,154,64,115,63,5232,1654,17494],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc064e439aeef992d464680650ec944d9.jpg",[],{"id":17498,"slug":17499,"title":17500,"dynasty":223,"author":434,"museum":459,"description":13141,"tags":17501,"thumbUrl":17502,"material":808,"size":809,"collection":179,"collections":17503,"showCount":261,"zanCount":928,"manualWeight":48,"mainColor":49},272868,"zi-tan-mu-bian-ke-si-hua-niao-tu-gua-ping-yi-ming-272868","紫檀木边缂丝花鸟图挂屏",[24,25,11234,566,29,28,171,7,156,289,591,8941,6118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17f2642bff062578c84f8e86b499e46.jpg",[],{"id":17505,"slug":17506,"title":17507,"dynasty":223,"author":11241,"museum":459,"description":11242,"tags":17508,"thumbUrl":17511,"material":179,"size":179,"collection":124,"collections":17512,"showCount":261,"zanCount":928,"manualWeight":48,"mainColor":128},238321,"wan-hu-sang-ma-tu-xiao-juan-dong-gao-238321","万户桑麻图小卷",[24,26,475,28,118,30,32,115,138,788,5233,7,204,61,17509,17510],"田园生活","农桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba7ae20c02be229020dc6a8b099325b6.jpg",[124,45],{"id":17514,"slug":17515,"title":1178,"dynasty":223,"author":3836,"museum":459,"description":17516,"tags":17517,"thumbUrl":17518,"material":179,"size":179,"collection":124,"collections":17519,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":49},237467,"shan-shui-zhou-hua-yan-237467","华岩（1682～1756），一写作华嵒，福建上杭白砂里人。字德嵩，更字秋岳，号新罗山人、白沙道人等，老年自喻“飘篷者”。工画人物、山水、花鸟，草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。",[24,28,118,30,7,117,64,116,61,579,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93002429d8052a89366938df98869cff.jpg",[124,103],{"id":17521,"slug":17522,"title":17523,"dynasty":54,"author":10638,"museum":459,"description":17524,"tags":17525,"thumbUrl":17526,"material":179,"size":179,"collection":179,"collections":17527,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,25,202,28,29,118,61,2296,63,64,994,35,70,71,1170,117,7,32,69,2772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],{"id":17529,"slug":17530,"title":17531,"dynasty":54,"author":4131,"museum":20,"description":17532,"tags":17533,"thumbUrl":17534,"material":8893,"size":17535,"collection":179,"collections":17536,"showCount":261,"zanCount":928,"manualWeight":48,"mainColor":128},234973,"fang-dong-yuan-shan-shui-zhou-wen-jia-234973","仿董源山水轴","文嘉（1501—1583年），字休承，号文水，长洲（今江苏苏州）人，文徵明次子。官和州学政。工诗文书画，继承家学，又以多见古人名迹，故其画作能脱去习俗。著《和州诗》。",[24,25,152,202,114,118,60,30,63,64,579,61,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b8b1885883d2c6208989fa18e10f2.jpg","纵155cm，横71.3cm",[],{"id":17538,"slug":17539,"title":3901,"dynasty":54,"author":17540,"museum":459,"description":17541,"tags":17542,"thumbUrl":17543,"material":179,"size":179,"collection":124,"collections":17544,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},234865,"shan-shui-ce-zhao-pu-234865","赵璞","此作为诗画合璧，淡墨绘就平远江景。近岸松石苍润，林木错落成荫，水波澹澹延展，远山以淡墨晕染，虚茫空濛，尽显江乡日暮的清寂悠远。行书题诗笔致清劲雅致，诗文将羁旅幽思寄寓山水，与画面相映成趣。笔墨简淡松灵，不事雕琢，把江畔闲望的怅惘安闲藏在疏朗构图之中，萧散闲适的文人意趣溢于纸面，淡而不薄，简中见雅，尽显林下澹泊清远的古韵。",[24,25,385,114,118,120,30,7,244,500,1290,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38743b87d4722c9ed73f5e1e990d74b2.jpg",[124],{"id":17546,"slug":17547,"title":475,"dynasty":223,"author":17548,"museum":20,"description":17549,"tags":17550,"thumbUrl":17551,"material":360,"size":179,"collection":179,"collections":17552,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},234115,"shan-shui-hua-wang-san-xi-234115","王三锡","王三锡（1716～1793后），字邦怀，号竹岭，江苏太仓人。昱侄，或谓翚裔孙。山水得昱法，邱壑位置，不作寻常蹊径。运笔亦别具雅韵。巨幅松石，时称独绝。又喜作花卉及写意人物。其小册清丽可爱。长洲屠璇，穹窿道士李体德皆从之游。",[24,25,26,28,118,114,30,37,117,7,2715,115,62,500,2808,138,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d6fac3944d659e14864ca6319992f5.jpg",[],{"id":17554,"slug":17555,"title":3901,"dynasty":54,"author":955,"museum":20,"description":3902,"tags":17556,"thumbUrl":17557,"material":1302,"size":3905,"collection":179,"collections":17558,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},234058,"shan-shui-ce-dong-qi-chang-234058",[24,25,385,114,118,30,117,7,64,289,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a18510e3f687f4476b0072cc57a56.jpg",[],{"id":17560,"slug":17561,"title":17562,"dynasty":54,"author":955,"museum":20,"description":17563,"tags":17564,"thumbUrl":17565,"material":936,"size":17566,"collection":179,"collections":17567,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},233960,"zeng-jia-xuan-shan-shui-tu-zhou-dong-qi-chang-233960","赠稼轩山水图轴","此画构图取势平远，树石简繁相参，敛放有致，与同年作者所作《佘山游境图》轴相比，在笔势运转上更显刚健挺拔。渲染则多湿笔浓墨，墨气纵横，得草树、坡石蓊郁润泽之态。\n据题跋可知此图为作者于丙寅年所作，三年后，即“己巳”（明崇祯二年，1629年）寄赠瞿稼轩。“稼轩”是瞿式耜的号。此图从一个侧面反映了明末文人之间以诗文书画相契赏的风尚。",[24,201,118,912,202,30,7,244,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff6910377fde107bd3ffc655005365f6.jpg","纵101.3cm，横46.3cm",[],{"id":17569,"slug":17570,"title":17571,"dynasty":54,"author":17572,"museum":20,"description":17573,"tags":17574,"thumbUrl":17576,"material":3867,"size":17577,"collection":179,"collections":17578,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},233473,"ren-wu-hua-hui-ce-xu-wei-233473","人物花卉册","徐渭","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[24,114,385,228,61,115,17575,7,153],"水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f4e85145f2771a2c5af092a652fd77.jpg","纵26.9厘米 横38.3厘米",[],{"id":17580,"slug":17581,"title":2088,"dynasty":223,"author":381,"museum":20,"description":5685,"tags":17582,"thumbUrl":17583,"material":14848,"size":14849,"collection":179,"collections":17584,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},233425,"yuan-ji-shan-shui-ce-shi-tao-233425",[24,25,385,114,28,118,30,1289,7,117,8640,8441],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7570e2d7e819c7dbd70ebd7ddbb567db.jpg",[],{"id":17586,"slug":17587,"title":17588,"dynasty":54,"author":801,"museum":459,"description":17589,"tags":17590,"thumbUrl":17591,"material":179,"size":179,"collection":179,"collections":17592,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},228469,"nan-you-tu-tang-yin-228469","南游图","《南游图》是明朝唐寅写的一首诗。\n江上春风吹嫩榆，扶琴送子曳长裙。\n相逢若有知音者，随地芟茅好结庐。\n唐寅（147---152），初字伯虎，更字子畏，号六如居士，明代画家，吴县（今江苏苏州）人。\n他是吴门画派的代表人物，与沈周、文徵明、仇英并称明代四大家（吴门四家）。\n出生于一个商人家庭，从小聪明好学，诗文书画，无一不精。\n29岁时，他考中应天府（今南京）乡试第一名解元，自诩为“江南第一才子”。\n但在第二年的会试中，因好友科举舞弊案的牵连，被捕入狱，从此功名断绝。\n出狱后，唐伯虎性情大变，从此绝意仕途，潜心书画，终成一代大家。\n唐伯虎擅长画山水、人物、花鸟等。\n他的山水画师法周臣、李唐、刘松年，风格秀逸清俊，笔墨细秀，布局疏朗。\n人物画师承唐代传统，多以仕女和历史故事为题材，色彩或艳丽或清雅，线条清细，体态优美。\n花鸟画洒脱随意，格调秀逸，长于水墨写意。\n传世画作有《骑驴思归图》、《山路松声图》、《事茗图》、《王蜀宫妓图》、《秋风纨扇图》等。",[23,24,25,26,28,29,118,120,119,153,30,7,61,63,64,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85449ec179089e2a5b76fcc8c7693e.jpg",[],{"id":17594,"slug":17595,"title":17596,"dynasty":18,"author":944,"museum":459,"description":17597,"tags":17598,"thumbUrl":17600,"material":179,"size":179,"collection":179,"collections":17601,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},228164,"lao-shu-han-ya-tu-juan-zhao-bo-ju-228164","老树寒鸦图卷","此作用淡墨晕染铺就江天寥廓，滩渚浅岸清寂冷逸，枯木虬枝错落舒展，干笔皴擦尽显苍劲老辣，不着多余修饰，便将冬日江郊的荒疏萧索尽数铺陈。\n画面以平远取景，水墨清润简淡，把寒水空濛、林梢凝寒的江洲冬境，化作空寂禅意。简淡笔墨暗合宋人极简美学意趣，于萧索冷冽间晕染出悠长幽远的诗意，尽得荒寒淡远的文人山水意境。",[23,152,24,25,26,114,28,30,579,17599,289,7,153,119,120,118],"寒鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab012e2191f40ce6f95225846f98cfe1.jpg",[],{"id":17603,"slug":17604,"title":17605,"dynasty":18,"author":17606,"museum":459,"description":17607,"tags":17608,"thumbUrl":17609,"material":179,"size":179,"collection":179,"collections":17610,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":49},228030,"wei-sheng-huang-hun-tu-zhao-da-heng-228030","薇省黄昏图","赵大亨","暮色漫过深宅庭院，丹红与素白的花影缀在枝桠，晕开柔暖朦胧的晚意。敞轩之内，一人斜卧假寐，将白日倦怠揉进黄昏里。屋宇木构刻画清雅工细，层叠的瓦檐晕染出松弛闲散的日常氛围。远景青绿山影轻笼在烟岚里，与院内花木相映，将宅邸晕成一方避世的静谧天地。\n\n整幅设色温雅柔润，工细笔意里带着写意的松弛，把黄昏庭院慵懒闲散的氛围感烘托至极，将宋人的闲雅私居之美定格，尽显慢煮时光的雅致意趣，晕开淡淡的温柔余韵。",[23,24,2895,28,59,1705,7,30,2395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180cc436741e61cb1c56a0bdb9f2ef67.jpg",[],{"id":17612,"slug":17613,"title":17614,"dynasty":18,"author":713,"museum":459,"description":17615,"tags":17616,"thumbUrl":17617,"material":179,"size":179,"collection":179,"collections":17618,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":49},227776,"xie-ke-fang-you-tu-ye-liu-song-nian-227776","携客访友图页","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,28,29,61,116,1067,7,30,118,14797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92709672d881dd58bce216d07ed75c8f.jpg",[],{"id":17620,"slug":17621,"title":17622,"dynasty":18,"author":17623,"museum":167,"description":17624,"tags":17625,"thumbUrl":17626,"material":316,"size":17627,"collection":179,"collections":17628,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},227718,"dao-yi-tu-juan-mou-yi-227718","捣衣图卷","牟益","《捣衣图》南宋画家牟益创作的纸本水墨画作品，现收藏于台北故宫博物院。\n\n《捣衣图》描绘南朝谢惠连《捣衣诗》之诗意。画中庭院秋深，高槐叶落，景象凄凉，绘三十二位妇女捣练、裁衣、缝衣之劳动情景。画家通过建筑物的相连、人物的往来、花木的点缀，前后贯通，画中的人物造型准确，生动有致，面容圆润，衣裙宽大，犹有唐人余韵。",[23,24,152,25,26,437,61,170,70,7,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff35647b7e53622cc6bfd8715853cbc.jpg","纵27.1厘米，横266.4厘米",[],{"id":17630,"slug":17631,"title":17632,"dynasty":223,"author":17274,"museum":459,"description":17321,"tags":17633,"thumbUrl":17634,"material":179,"size":179,"collection":179,"collections":17635,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},226630,"si-shi-shan-shui-03-pu-ru-226630","四时山水03",[23,24,25,114,118,385,30,61,117,7,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a54730262b673b5e2e522748b6b7275.jpg",[],{"id":17637,"slug":17638,"title":17639,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":17640,"thumbUrl":17641,"material":808,"size":809,"collection":3244,"collections":17642,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":49},226033,"spring-effect-at-giverny-1890-mo-nai-226033","Spring Effect at Giverny, 1890",[7526,3239,3241,4114,7,411,13914,9099,10664,9938,9940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5feeca46118ff746e45155368ac83d.jpg",[3244],{"id":17644,"slug":17645,"title":17646,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":17647,"thumbUrl":17649,"material":808,"size":809,"collection":3244,"collections":17650,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},225987,"morning-on-the-seine-1897-mo-nai-225987","Morning on the Seine, 1897",[3239,7526,17648,7528,7661,32,1290,5404,209,11517,7],"外光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dca538a238ed7469597eb0610fd3e9f.jpg",[3244],{"id":17652,"slug":17653,"title":17654,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":17655,"thumbUrl":17659,"material":808,"size":809,"collection":3244,"collections":17660,"showCount":261,"zanCount":928,"manualWeight":48,"mainColor":49},225976,"lilacs-grey-weather-1872-mo-nai-225976","Lilacs, Grey 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1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[23,24,25,385,114,30,289,118,119,153,7,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d82fb54fc6a1eb3e1a5c47fd4a31691.jpg",[124,1822],{"id":17736,"slug":17737,"title":17738,"dynasty":54,"author":1884,"museum":167,"description":17739,"tags":17740,"thumbUrl":17741,"material":303,"size":17742,"collection":124,"collections":17743,"showCount":261,"zanCount":928,"manualWeight":48,"mainColor":128},222182,"qing-bai-xuan-tu-zhou-liu-jue-222182","清白轩图轴","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。\n刘珏[jué]为官清正，浙江甫田县丞督赋侵吞渔税，被告以“黄金二百两”委托亲戚向他行贿，他正愁缺少证据，便以此为突破口，查明了赋税被侵吞的真相。无锡有个贪官因受贿事发，托人送来500两银子，求他去向办案人说情。刘珏严拒，并对来人说：“不亟去，当讯之于官！”\n刘廷美为刑部主事居京师，与徐武功、刘原博诸公为诗友，每相过，必谈论达旦。尝岁除，原博邀之守岁，廷美因挟所藏钟馗画像求题，原博遂援笔大书一诗于上。明旦持归，县之中堂。京师每正旦，主人皆出贺，惟置白纸簿并笔研于几，贺客至，书其名，无迎送也。是日朝罢，刘定之、黄廷臣两学士首至，见此诗，各摘簿一叶录之去。朝士继至者，皆摘录之。顷间，簿已尽矣。廷美晚回，索簿阅贺客以图往报，家人告其故。明日，复置一簿，亦如之。中书舍人金本清戏谓廷美曰：“此钟馗乃耗纸鬼也。”一时京师传为奇事。原博诗曰：“长空糊云夜风起，不忿成群跳狂鬼。倒提三尺黄河水，血洒莲花舞秋水。飞萤负火明月羞，栎窠影黑啼鸺枭。绿袍乌帽逞行事，磔脑刳肠天亦愁。中有巨妖诛未得，盍驾飙轮驱霹雳。如何袖手便忘机，回首东方又生白。”\n刘完庵薄于仕宦，年五十遂解组，时有宪臣索题《牧牛图》，为赋诗曰：“牧子驱牛去若飞，免教风雨湿蓑衣。回头笑指桃林外，多少牧牛人未归。”宪臣亦感泣挂冠去。\n成化初，琼台邢公宥为苏守，以梅华求题，廷美赋绝句云：“岁寒相见在天涯，玉色珠光带露华。笑杀玄都狂道士，种桃何不种梅华？”邢公得诗甚喜。后邢公以郡中久荒，陂荡起税，民心颇怨，有投诗刺之者曰：“量尽山田与水田，只留沧海与青天。渔舟若过间洲渚，为报沙鸥莫浪眠。”邢公闻之，以为廷美所作，衔之。或劝往白，廷美曰：“彼奈我何？”后廷美卒，邢公吊祭皆不往，人多非之。",[23,24,202,114,118,30,116,63,64,7,117,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F931c328fef461048547689cfaea32c14.jpg","纵92.7厘米横35.4厘米",[124],{"id":17745,"slug":17746,"title":17747,"dynasty":54,"author":955,"museum":20,"description":17748,"tags":17749,"thumbUrl":17750,"material":1302,"size":3905,"collection":179,"collections":17751,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},220911,"shan-shui-ce-5-dong-qi-chang-220911","山水册5","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,152,24,114,118,385,30,63,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a4d51b4537b87d26db812e65f4def5.jpg",[],{"id":17753,"slug":17754,"title":30,"dynasty":1743,"author":17755,"museum":17068,"description":17756,"tags":17757,"thumbUrl":5180,"material":179,"size":179,"collection":179,"collections":17758,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},220513,"shan-shui-pu-xin-she-220513","溥心畬","此作以高远、平远之法铺展秋山江居之景。远景峰峦含烟，青嶂间朱檐古阁半隐雾霭，恍若仙乡。中景汀渚蜿蜒，苍松挺秀，丹枫点染秋光，村居藏于林麓，野趣悠然。近境临水高轩敞亮，二人凭栏对晤，秋水潺湲，石矶错落，霜叶漫山晕开暖红。\n笔墨兼融北宗苍劲与南宗秀润，浅赭花青晕染出明净秋意，题诗与画境相融，尽显清寂萧散的隐逸诗意，晕染出文人幽淡出尘的襟怀。",[24,25,28,118,30,62,7,500,674,35,117],[],{"id":17760,"slug":17761,"title":17762,"dynasty":54,"author":801,"museum":56,"description":17763,"tags":17764,"thumbUrl":17765,"material":303,"size":17766,"collection":124,"collections":17767,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":128},220055,"chui-hong-bie-yi-tu-tang-yin-220055","垂虹别意图","《垂虹别意图卷》由唐伯虎作画，祝枝山题“垂虹别意”引首，戴冠做序。戴冠在《诸名贤垂虹别意诗序》中解释道：“垂虹者，吴地石杠之名也”，“虹”为“桥”的别称，说白了，“垂虹”所指即。题诗则以为首，祝、文、唐等三十余人皆列其后。当时，众吴门才子送别戴昭时共作三十六首诗。而现存顾洛阜家藏的手卷裱件中，仅存十九首，其中包括祝枝山书《赠戴昭诗》，均裱在唐寅画后，裱在前面的祝枝山题“垂虹别意”引首亦幸存。",[23,24,25,26,114,120,119,153,118,30,7,64,115,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e189bda4fe92d69e4e85706aca033.jpg","纵29.7厘米，横107.6厘米",[124],{"id":17769,"slug":17770,"title":17771,"dynasty":54,"author":7098,"museum":514,"description":17772,"tags":17773,"thumbUrl":17774,"material":303,"size":17775,"collection":124,"collections":17776,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":1138},220030,"fang-huang-zi-jiu-tian-chi-shi-bi-tu-shen-shi-chong-220030","仿黄子久天池石壁图","图中以淡设色绘江南山水。卷首题签『沈陈诗画合璧，项氏崇洁庐藏』。引首有清人王澍题『沈陈合璧』四个楷书大字，沉雄有力。拖尾分别有陈继儒、翁长芬各题诗数行，另有徐谦跋语两行。\n沈士充近师赵左、宋懋晋，上承宋旭、沈周，远溯『元四家』，并逐渐形成自己的绘画风格。清初以来，民间有『云间正派』之目。由于明末董其昌的巨大影响力，沈画常常模拟董氏画风。董其昌为了应酬社会上的书画需求，亦常用沈代笔。由于董其昌署名作品中多为闺阁手笔，沈氏代笔在当时已被视为董氏代笔中的上乘之作。辽宁旅顺博物馆藏沈氏《石壁图》，作于明崇祯六年(一六三三)，其时董氏尚健在。此作水墨淋漓、烟岚生动、直署己名，并配有陈继儒题诗，堪为沈氏的精心之作。一九八八年九月五日，沈氏《石壁图》被国家文物鉴定委员会谢稚柳、刘九庵、杨仁凯等鉴定为国家二级文物(收入《中国古代书画目录》，文物出版社，一九九三年版)，对研究沈氏画风具有重要的参考价值。",[23,24,475,60,114,118,117,7,676,35,37,115,64,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a47775b2a1c5f7ca34eef13fdbb71.jpg","253cm×27.7cm",[124],{"id":17778,"slug":17779,"title":17780,"dynasty":54,"author":10774,"museum":382,"description":17781,"tags":17782,"thumbUrl":17784,"material":78,"size":17785,"collection":124,"collections":17786,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":49},219735,"shi-hu-mu-se-tu-sheng-mao-ye-219735","石湖暮色图","此作用淡墨晕染铺展暮色氛围感，远山轻笼烟岚，山巅浮屠隐现濛濛霭气间，将黄昏的朦胧柔焦晕染尽致。近岸林木错落，屋舍藏于深翠之中，湖畔浅滩温润柔和，空茫湖面漾着晚色静波。\n\n笔墨松秀简淡，以干湿层次区分远近虚实，把江南水畔黄昏的清寂淡远尽数铺陈。整体意境萧疏沉静，将暮色四合时的松弛空茫藏在水墨晕染里，尽显晚山归暮的温柔意韵，让观者仿若置身于这沉静的暮色湖山之间，沉醉在江南水泽的黄昏意趣中。",[23,24,28,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unt":48,"manualWeight":48,"mainColor":49},288511,"xi-shan-qiu-ji-tu-wang-shen-288511",[23,152,24,25,26,114,30,118,243,7,206,138,2869,119,695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549c065a57fcd8e41e55a4d3ea391e6.jpg",[],{"id":17870,"slug":17871,"title":17872,"dynasty":18,"author":713,"museum":459,"description":15519,"tags":17873,"thumbUrl":17874,"material":808,"size":809,"collection":179,"collections":17875,"showCount":17835,"zanCount":928,"manualWeight":48,"mainColor":49},288328,"gong-nv-tu-liu-song-nian-288328","宫女图",[23,2895,24,28,29,61,170,70,689,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F657b8807b0393ba2f560b75b5e316386.jpg",[],{"id":17877,"slug":17878,"title":2580,"dynasty":133,"author":134,"museum":459,"description":2581,"tags":17879,"thumbUrl":17880,"material":808,"size":809,"collection":179,"collections":17881,"showCount":17835,"zanCount":48,"manualWeight":48,"mainColor":128},284289,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-284289",[24,25,30,114,118,243,7,117,62,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c34216928f15c33184db431beebcfad.jpg",[],{"id":17883,"slug":17884,"title":17885,"dynasty":223,"author":4524,"museum":459,"description":17886,"tags":17887,"thumbUrl":17888,"material":179,"size":179,"collection":124,"collections":17889,"showCount":17835,"zanCount":48,"manualWeight":48,"mainColor":1138},238935,"qi-xia-shan-quan-tu-juan-qian-wei-cheng-238935","棲霞山全图卷","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[24,26,114,30,118,115,153,7,117,37,32,62,2796,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e39f32ceb97c4b748313f235bf3e3ee.jpg",[124,103],{"id":17891,"slug":17892,"title":17893,"dynasty":223,"author":17894,"museum":459,"description":17895,"tags":17896,"thumbUrl":17897,"material":179,"size":179,"collection":124,"collections":17898,"showCount":17835,"zanCount":48,"manualWeight":48,"mainColor":128},238246,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238246","燕山八景图册","张若澄","《燕山八景图》册（8开），清，张若澄绘，绢本，设色，纵4.7cm，横4.cm。\n燕山八景图册 自题：“臣张若澄敬写。\n”下钤“臣若澄”、“笔露思雨”二方印。\n对幅均有清乾隆帝题诗。\n钤清乾隆内府诸收藏印。\n此册以北京城著名的“燕京八景”为题而画。\n燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。\n“燕京八景”历金、元、明、清四代，又有称 “燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八 景的名称在不同时期则有所变化。\n乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。\n该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[24,25,385,28,59,30,62,7,115,36,153,120,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0adf7b2fcbdf57fa597e8cf40b281f.jpg",[124,45],{"id":17900,"slug":17901,"title":3901,"dynasty":223,"author":4544,"museum":20,"description":4545,"tags":17902,"thumbUrl":17903,"material":1218,"size":179,"collection":179,"collections":17904,"showCount":17835,"zanCount":48,"manualWeight":48,"mainColor":128},237199,"shan-shui-ce-sun-yi-237199",[24,152,25,385,28,27,118,30,64,7,117,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F534e78f6ec35caef7a3efdced7daa730.jpg",[],{"id":17906,"slug":17907,"title":17908,"dynasty":54,"author":14001,"museum":459,"description":17909,"tags":17910,"thumbUrl":17911,"material":179,"size":179,"collection":179,"collections":17912,"showCount":17835,"zanCount":928,"manualWeight":48,"mainColor":49},235853,"dian-nan-jin-sha-jiang-jing-zhou-huang-xiang-jian-235853","滇南金沙江景轴","此作用高远、深远构图铺展峡谷盛景，以披麻皴晕染山石肌理，苍厚朴拙的笔力勾勒出两岸层叠峰峦。崖间古松错落虬劲，金沙江蜿蜒穿谷，江面上轻舟随波缓行，山脚佛塔古寺隐于林麓，野意盎然。\n\n淡墨晕开江雾空濛，将滇南山河的荒寒奇秀尽藏毫端，搭配题诗将纪游的真切感触融于山水间，既绘就西南山川的雄阔幽寂，也以笔墨寄放行旅途中对山河的体察，是纪游山水中兼具纪实性与抒情性的佳构。",[24,202,114,118,30,64,115,116,289,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff430ba9b406814fba1294612a5fa22cd.jpg",[],{"id":17914,"slug":17915,"title":17916,"dynasty":54,"author":434,"museum":459,"description":17917,"tags":17918,"thumbUrl":17919,"material":179,"size":179,"collection":179,"collections":17920,"showCount":17835,"zanCount":928,"manualWeight":48,"mainColor":128},235633,"song-xu-wan-shan-qiu-se-tu-zhou-yi-ming-235633","宋旭万山秋色图轴","此作用高远章法铺展秋山全景，层峦叠嶂间沟壑纵深，飞泉漱石、山溪蜿蜒贯穿始终。以淡赭晕染山骨铺就秋意底色，朱砂醒点丹枫，勾勒皴擦兼用，将嶙峋山石、虬曲古木的苍劲之态尽皆写就。幽谷深处隐现山居屋舍，林泉间尽显隐逸清寂之趣。整幅画面笔墨清灵雅致，把深秋万山层林尽染的高旷冷寂意境铺陈开来，尽显文人山水崇尚的幽淡空灵林下之风，是极具韵致的秋山绘作。",[24,25,202,152,28,118,30,31,64,7,540,117,62,502,968,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc1c6bbcb02615aab2d7bb1eb1a7e.jpg",[],{"id":17922,"slug":17923,"title":3724,"dynasty":223,"author":381,"museum":20,"description":11258,"tags":17924,"thumbUrl":17925,"material":15512,"size":2092,"collection":179,"collections":17926,"showCount":17835,"zanCount":48,"manualWeight":48,"mainColor":128},234998,"yuan-ji-shan-shui-tu-ce-shi-tao-234998",[152,24,25,385,114,28,30,64,117,7,204,61,35,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d770c7c8d6328bae3a2edfaafc2d.jpg",[],{"id":17928,"slug":17929,"title":17930,"dynasty":223,"author":17931,"museum":459,"description":17932,"tags":17933,"thumbUrl":17934,"material":40,"size":179,"collection":44,"collections":17935,"showCount":17835,"zanCount":928,"manualWeight":48,"mainColor":49},234319,"jiu-ru-zhi-ji-ce-wang-gai-234319","九如治迹册","王概","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。\n王概（生卒年未详），最初名“匄”（发音：gai），可以写为“改”，也可以写为“丐”，字东郭，又字安节，浙江秀水（今嘉兴）人。一直以来居住于江宁（今江苏南京）。王概从龚贤(1618—1689)学山水画，用墨浓重，善作大幅及松石等。\n王概曾应李渔之婿沈因伯之请，与其兄王耆，其弟王臬在沈因伯保存的明末画家李流芳原有四十三幅画稿的基础上，补绘完成《芥子园画传》，后经李渔的帮助，刻印出版。\n王概兄弟皆笃行嗜古，旁及诗、画，擅名于时。一生专心艺事，不入仕途，以卖画为生。山水学龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”与当时名流汤燕生、李渔、程邃、孔尚任、周亮工等交往。",[24,385,28,29,59,30,61,62,63,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06918a767082105822cbcaec82eed402.jpg",[44],{"id":17937,"slug":17938,"title":17939,"dynasty":223,"author":1579,"museum":20,"description":17940,"tags":17941,"thumbUrl":17944,"material":11807,"size":17945,"collection":179,"collections":17946,"showCount":17835,"zanCount":48,"manualWeight":48,"mainColor":128},233790,"gao-yan-jian-pu-tu-zhou-yun-shou-ping-233790","高岩溅瀑图轴","本幅近景所绘树木不多，但富于形态变化，古木虬枝，青藤临风垂挂，二者穿插盘绕中显现出条理性。中景泉水潺潺，芦苇简约，将远、中景自然隔开，从而增强了全幅的纵深感及空间感。远山以淡墨干笔作长披麻皴，笔触开阔疏朗，显示出清逸深幽的韵致。此图不刻意求工、求似，唯求自然天趣，显示出恽寿平一向所追求的平淡超逸的审美意趣，为恽寿平精品之一。",[24,25,202,114,118,30,17942,17943,578,579,117,64,7,1665,244,204],"高岩","溅瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96806cdc12bdc9e67c5c0a37ca3b8e61.jpg","纵104.9厘米，横43厘米",[],{"id":17948,"slug":17949,"title":17950,"dynasty":223,"author":434,"museum":20,"description":17951,"tags":17952,"thumbUrl":17953,"material":360,"size":17954,"collection":179,"collections":17955,"showCount":17835,"zanCount":48,"manualWeight":48,"mainColor":128},233051,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233051","平定安南战图册","《平定安南得胜图》描绘了清乾隆五十三年至五十四年（1788—1789年）间清政府出兵平定安南的战争场景。六幅图依次为：嘉观诃滬之战、三异柱右之战、寿昌江之战、市球江之战、富良江之战、阮惠遣侄阮光显入觐赐宴。\n在东南亚各国中，安南大越与中国疆域毗邻，关系密切。清统一全国后，安南内部仍然陷于南北纷争之中，广南（今越南南部）阮氏控制南方，北方郑氏擅权，国王黎氏徒拥虚位。安南久列藩封，黎氏传国最久，臣服中国最为恭顺。清高宗应黎氏之请用兵安南，为安南平定内乱。\n此套图在风格上受到郎世宁“西法中国画”的影响，在画面局部采用焦点透视和一定的明暗对比来表现纵深效果和立体感，在构图、造型上又带有中国画和木版画风格，反映了中国画家在试图融合中西绘画优长方面所作的努力。",[24,25,152,29,28,118,61,30,117,7,1420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fddf725ebf57af05b7ed69deb289f01.jpg","纵55.3cm，横90.3cm",[],{"id":17957,"slug":17958,"title":17959,"dynasty":54,"author":2636,"museum":20,"description":17960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，而且理趣兼优，形神俱佳。右上有诗情画意，寓意诗：「一宿唐缘逆旅中，短词以识鸿。当时我作陶承旨，前面发红。」诗情画意，寓意静深。",[23,24,25,29,28,61,7,269,806,1473,2938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fed0db24a4b08267971f750e5a655b5.jpg","168.8 x 102.1 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之笔营造“天人合一”的清旷意境，藏着文人对自然的深情与尘外之境的向往。笔墨间漾着宋元之际文人的散淡襟怀，不追形似而重神韵，观之如置身林泉，心随松涛泉响，渐入澄明之境。",[23,24,2895,28,118,30,540,64,156,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f58b1ae6d25b570dc4eefb629ed142.jpg",[124],{"id":18124,"slug":18125,"title":18126,"dynasty":133,"author":434,"museum":111,"description":18127,"tags":18128,"thumbUrl":18129,"material":78,"size":18130,"collection":124,"collections":18131,"showCount":17835,"zanCount":48,"manualWeight":48,"mainColor":49},218216,"bi-wu-ting-xie-tu-yi-ming-218216","碧梧亭榭图","这幅画描绘的是一座美丽的亭子和榭廊，位于一片茂密的森林之中。亭子呈方形，由木构建筑搭建而成，四周环绕着一圈小山丘。亭子上方是一座榭廊，榭廊的栏杆由许多小木棍组成，看上去十分精致。\n\n在亭子的中心有一个圆形的池塘，池塘周围种满了许多花草，荷花、菊花、牡丹等各种鲜艳的花朵相互辉映，颜色鲜艳夺目。在池塘中央有一只小鸟儿正在游泳，一群小鸭子在岸边嬉戏。\n\n整幅画非常美丽，构图巧妙，色彩鲜艳，是一幅非常优秀的画作。它所描绘的这座亭子和榭廊，是人们在繁忙的城市生活中的一片净土，是人们放松身心的好去处。它也是一幅富有意境的画作，让人感受到自然的和谐与宁静。",[152,24,59,28,116,62,2246,7,153,6503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4393613c35a03edb85252ef3c1dbd1.jpg","26x22cm",[124],{"id":18133,"slug":18134,"title":18135,"dynasty":54,"author":55,"museum":459,"description":12226,"tags":18136,"thumbUrl":18137,"material":78,"size":179,"collection":179,"collections":18138,"showCount":17835,"zanCount":48,"manualWeight":48,"mainColor":49},216275,"er-shi-si-xiao-tu-16-chou-ying-216275","二十四孝图-16",[24,25,28,29,61,4537,1855,30,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F927b2853b94fe72995de2827e9add8b4.jpg",[],{"id":18140,"slug":18141,"title":18142,"dynasty":223,"author":9866,"museum":423,"description":18143,"tags":18144,"thumbUrl":18145,"material":14047,"size":179,"collection":179,"collections":18146,"showCount":17835,"zanCount":48,"manualWeight":48,"mainColor":128},214430,"shan-shui-tu-ce-1-zhu-da-214430","山水图册-1","清代画家朱耷的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了朱耷对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n朱耷是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，朱耷的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了朱耷对自然的热爱和对传统文化的尊重。",[23,24,25,385,114,118,30,7,156,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0403d9e777b773eaf5209313cbf74a82.jpg",[],{"id":18148,"slug":18149,"title":18150,"dynasty":133,"author":909,"museum":459,"description":18151,"tags":18152,"thumbUrl":18153,"material":808,"size":809,"collection":179,"collections":18154,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},290833,"ping-lin-yuan-xiu-zhou-ni-zan-290833","平林远岫轴","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[24,202,114,30,243,7,32,116,119,153,118,5361],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04dfa51199c3ad35772c52d3f5762112.jpg",[],{"id":18156,"slug":18157,"title":18158,"dynasty":133,"author":355,"museum":459,"description":1960,"tags":18159,"thumbUrl":18160,"material":808,"size":809,"collection":179,"collections":18161,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},290442,"qiu-shan-du-shu-tu-ke-luo-ban-wang-meng-290442","秋山读书图（珂罗版）",[23,24,152,114,202,30,204,7,1704,63,64,274,8642,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5464f995e7c474f65e7423200238cf.jpg",[],{"id":18163,"slug":18164,"title":18165,"dynasty":223,"author":4731,"museum":459,"description":5748,"tags":18166,"thumbUrl":18168,"material":808,"size":809,"collection":179,"collections":18169,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},289975,"lou-tai-chun-wu-tu-zhou-yuan-jiang-289975","楼台春雾图轴",[23,24,202,59,28,30,62,18167,7],"春雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c64724907c29d396101d29c8eabb6f.jpg",[],{"id":18171,"slug":18172,"title":18173,"dynasty":223,"author":3937,"museum":459,"description":3938,"tags":18174,"thumbUrl":18175,"material":808,"size":809,"collection":179,"collections":18176,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},289950,"fang-yuan-si-jia-shan-shui-tu-juan-hong-ren-289950","仿元四家山水图卷",[23,24,26,25,30,114,118,289,116,7,16356,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ba1ab563f74a6b953b9ea64e9a8e62.jpg",[],{"id":18178,"slug":18179,"title":18180,"dynasty":223,"author":3550,"museum":459,"description":7319,"tags":18181,"thumbUrl":18183,"material":808,"size":809,"collection":179,"collections":18184,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},289932,"chan-ji-hua-qu-tu-zhou-kun-can-289932","禅机画趣图轴",[24,25,202,114,118,30,63,64,115,35,7,923,18182,153,119],"禅意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a847df0604c75424825b87a32147592.jpg",[],{"id":18186,"slug":18187,"title":17305,"dynasty":223,"author":4731,"museum":459,"description":5748,"tags":18188,"thumbUrl":18190,"material":808,"size":809,"collection":179,"collections":18191,"showCount":234,"zanCount":48,"manualWeight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字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[24,25,202,28,30,118,63,64,7,117,61,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb780e944bf063bdc83fbd0b5d1c21d83.jpg",[124,45],{"id":18230,"slug":18231,"title":18232,"dynasty":223,"author":3775,"museum":459,"description":15095,"tags":18233,"thumbUrl":18234,"material":808,"size":809,"collection":179,"collections":18235,"showCount":234,"zanCount":928,"manualWeight":48,"mainColor":128},237648,"fang-zhao-da-nian-shan-shui-zhou-wu-li-237648","仿赵大年山水轴",[24,25,202,28,30,60,115,579,35,7,1446,117,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dec9a200d263bb4b383e2b08b8dd157.jpg",[],{"id":18237,"slug":18238,"title":6800,"dynasty":223,"author":2792,"museum":459,"description":6801,"tags":18239,"thumbUrl":18240,"material":179,"size":179,"collection":179,"collections":18241,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},237587,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237587",[24,25,152,114,958,30,118,385,243,7,64,63,35,37,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa175a195bd0ae1ffc16b04aa9a2fba7e.jpg",[],{"id":18243,"slug":18244,"title":18245,"dynasty":223,"author":2792,"museum":658,"description":18246,"tags":18247,"thumbUrl":18248,"material":3867,"size":18249,"collection":124,"collections":18250,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},237388,"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[24,114,118,60,202,153,30,9583,117,7,63,64,115,116,37,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[124],{"id":18252,"slug":18253,"title":18254,"dynasty":54,"author":12598,"museum":20,"description":18255,"tags":18256,"thumbUrl":18257,"material":179,"size":179,"collection":124,"collections":18258,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},236913,"guan-mei-tu-zhou-ding-yun-peng-236913","观梅图轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。",[24,25,202,114,29,118,30,4124,61,579,578,117,7,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef431a10e57a656e762c4ca85d7e8da6.jpg",[124,103],{"id":18260,"slug":18261,"title":18262,"dynasty":223,"author":3733,"museum":459,"description":18263,"tags":18264,"thumbUrl":18265,"material":808,"size":809,"collection":179,"collections":18266,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},235562,"tao-yuan-ming-gui-qu-lai-ci-tu-shan-ye-jiao-bing-zhen-235562","陶渊明归去来辞图扇页","此图根据陶渊明《归去来辞》文意，描绘陶氏辞官隐居，离船登岸时受到“童仆欢迎”的场景。作者作为曾受过西洋技法影响的画家，在此件创作上除了茅屋结构有些许透视外，受西方画法的影响尚不明显，其笔法基本属于中国传统的人物山水画范畴。作者注重以形写神，将陶氏下船时小心翼翼的举止，和童仆们恭敬的神态均刻画得生动传神。",[2895,24,25,28,29,30,61,7,35,289,502,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fabb13a531648cafb448d513a0361f6.jpg",[],{"id":18268,"slug":18269,"title":18270,"dynasty":54,"author":18271,"museum":459,"description":18272,"tags":18273,"thumbUrl":18274,"material":179,"size":179,"collection":179,"collections":18275,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},235481,"fang-guo-xi-shan-shui-zhou-yuan-shang-tong-235481","仿郭熙山水轴","袁尚统","整幅画作以雪景铺陈萧索冬意，巨峰以淡墨晕衬留白，尽显积雪覆山的清寒巍峨。枯木虬枝劲挺错落，深谷间栈道蜿蜒回转，行旅车马次第缓行，将隆冬深山的冷寂，和人间行路的烟火暖意相融。\n\n笔墨追摹北宗山水意趣，简劲皴法勾勒山石肌理，细笔描摹林木栈道，既复刻出萧寒雄奇的山水之态，又自带着苍朴的笔底情致，把冬日深山的荒寒古雅，行路迢迢的沉郁氛围尽显纸上，于冷寂雪景中晕开古雅悠远的山水意境。",[24,202,114,118,60,30,1080,7,204,1044,61,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeabec41ab82bfb0de0af94b8bf5c215.jpg",[],{"id":18277,"slug":18278,"title":18279,"dynasty":54,"author":434,"museum":111,"description":18280,"tags":18281,"thumbUrl":18282,"material":179,"size":179,"collection":179,"collections":18283,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},234930,"xie-shi-chen-xia-shan-fei-pu-tu-zhou-yi-ming-234930","谢时臣夏山飞瀑图轴","谢时臣（1487-1567），明代画家。字思忠，号樗仙。吴（今江苏苏州）人。工书法，长于隶书。擅山水，师法吴镇、沈周，稍作变化，作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作山峦重叠，高耸险峻，笔墨或细密苍劲，或劲健沉郁，或纵横纷披，富有变化。有《杜陵诗意图》、《溪山揽胜图》、《策杖寻幽图》、《武当霁雪图》、《谪仙玩月图》等传世。\n谢时臣(公元1488-1567年尚在)，字思忠，号樗仙，吴人，专长画山水，画史称他师法梅道人，学沈石田稍变其意。多作屏障大幅，构图雄伟严密，气势纵横，从作品看，画风近于戴进与吴派的沈周之间。传世作品有《虎阜春晴图》(辽宁省博物馆藏)、《江山胜览图》卷、《夏山飞瀑图》(上海博物馆藏)、《杜陵诗意图册》(现藏故宫博物院)、《武当霁雪图》大轴(现藏山东省博物馆)等。上海博物馆藏有谢氏水墨花卉册，作于嘉靖廿三年(1544)，颇有风致，惟传世不多。",[24,114,118,202,30,204,117,7,37,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5022b1e88d93f3e65c907903f6e5ddfc.jpg",[],{"id":18285,"slug":18286,"title":18287,"dynasty":223,"author":381,"museum":20,"description":18288,"tags":18289,"thumbUrl":18290,"material":18291,"size":18292,"collection":179,"collections":18293,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},234053,"yuan-ji-shan-shui-shan-shi-tao-234053","原济山水扇","石涛（1642年－1708年），清初画家。本姓朱，名若极，小字阿长，削发为僧后，更名元济、超济、原济，自称苦瓜和尚。游南京时，得长竿一枝，因号枝下叟，别署阿长，钝根，山乘客、济山僧、石道人、一枝阁。他的别号很多，还有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人、晚号瞎尊者、零丁老人等。与弘仁、髡残、朱耷合称“清初四僧”。\n其擅花果兰竹，兼工人物，尤善山水，常体察自然景物，主张“笔墨当随时代”，画山水者应“脱胎于山川”，“搜尽奇峰打草稿”，进而“法自我立”。所画的山水、兰竹、花果、人物，讲求新格，构图善于变化，笔墨恣肆，意境苍莽新奇，一反当时仿古之风。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品、折扇扇面；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。",[24,2895,114,118,30,117,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2219facf2cfab380a36a40003b932061.jpg","金笺 ，设色","纵17.6cm，横50.7cm",[],{"id":18295,"slug":18296,"title":18297,"dynasty":223,"author":325,"museum":20,"description":18298,"tags":18299,"thumbUrl":18301,"material":140,"size":18302,"collection":179,"collections":18303,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},232969,"ma-shu-tu-zhou-lang-shi-ning-232969","马术图轴","阿睦尔撒纳与初登准噶尔部汗位的达瓦齐因利益冲突而相互交战，阿睦尔撒纳战败后，请求归附清廷、谒见乾隆皇帝。对于阿睦尔撒纳的主动投清，乾隆皇帝大喜过望。更为重要的是，通过杜尔伯特三车凌、阿睦尔撒纳等人的归附，他进一步了解到准噶尔内部的情况，从而坚定了借准噶尔部内乱之际出兵的信心，以完成祖父康熙帝、父亲雍正帝“两朝未竟之业”。考虑到阿睦尔撒纳还未出过痘疫，因此觐见地点选在避暑山庄，时间定在寒冷的冬季。\n这一年的十一月十五日，乾隆皇帝于山庄内举行了隆重的欢迎仪式后，又招待阿眭尔撒纳与蒙古族的和特部班珠尔、杜尔伯特部的纳默库等人一道观看了精彩的马术表演。为了纪念这一具有历史意义的盛大聚会，乾隆皇帝命西洋画师郎世宁组织宫廷画家们对此进行了纪实性描绘。此幅与《万树园赐宴图》同为宏幅巨制，表现的人物众多，但经作者合理有序的布局，则显得动静相宜，杂而不乱，使主要人物被突现出来。画家并没有将乾隆皇帝特意画高画大，或安排在画幅的中心位置以引人注目，而是表现他骑花马位于由王公大臣组成的锥形队列的前端，或端坐于众人相抬的肩舆上，经画师的巧妙设计同样使人感受到乾隆皇帝威严的震撼力，从而使他成为画面中最重要的角色。",[24,28,29,202,61,90,7,968,411,243,1421,18300,1420],"骑手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18456d0c6c09531fcea8bf1ed82b8c13.jpg","纵223.4厘米，横426.2厘米",[],{"id":18305,"slug":18306,"title":18307,"dynasty":133,"author":355,"museum":459,"description":18308,"tags":18309,"thumbUrl":18310,"material":179,"size":179,"collection":179,"collections":18311,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},232634,"shan-shui-tu-xin-yu-liang-quan-wang-meng-232634","山水图(新雨凉泉)","王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。对明清及近代山水画影响甚大。\n王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。传世的代表作《青卞隐居图》、《春山读书图》，上海博物馆藏；《葛稚川移居图》《夏日山居图》，北京故宫博物院藏；《秋山草堂图》，台北故宫博物院藏。代表作品还有《湘江烟雨图》《深林叠嶂图》等。诗文、史学亦精。今存诗集《草堂雅集》。",[24,25,202,114,118,30,117,7,64,244,38,1705,994,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e0e1523a4b570966cee5ed7f642fa5.jpg",[],{"id":18313,"slug":18314,"title":14089,"dynasty":18,"author":198,"museum":167,"description":18315,"tags":18316,"thumbUrl":18317,"material":140,"size":5215,"collection":179,"collections":18318,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},231421,"qiu-lin-fei-pu-tu-fan-kuan-231421","《秋林飞瀑图》纵181厘米，横99.5厘米，在传世千年的古画中，也算得上一件大作品；绢本，设色，沉淀了历史的古绢上，墨与色的辉映，那么的凝重、浑厚，摄人心魄。现藏于台北故宫博物院。图绘一山耸峙，山头山下密布丛林，有茅舍隐约其中；远处见城楼，飞瀑拾级而下，近前有木桥连岸，山路通达。这是一幅适合人居的美奂的山景，经过霜降的丛树一片绯红，秋色热烈明艳，绝无萧瑟凋蔽之感。构图并不复杂，但却极见功力：一峰高耸，山石和丛林结合在一起，层层深入；由远而近、曲折而下的山泉，则将其分割成疏密有致的空间，与茅舍、木桥、山路结合一体。无论是树木，还是山石，勾、皴的线条都十分坚挺遒劲。山下丛树的树叶，方、圆、长条之形俱备，用双勾法勾勒，凝练精到。山石用水墨依明暗分层积染，而树叶则敷以硃砂色，古雅瑰丽。整幅画映射出典型的宋画的风采。\n范宽也算得中国绘画史上的一个奇人。说到宋画，往往第一个就提他的姓名，却不能详知其生卒年月。画史称他“仪状峭古，进止疏野。性嗜酒，好道。”早年的画学荆浩、李成，虽得其精妙，但终归其下。于是他叹息道：“与其师人，不若师诸造化。”他移居于终南山、太华山，“常危坐终日，纵目四顾，以求其趣。虽雪月之际，必徘徊凝览，以发思虑。”他用心来感悟造化的鬼斧神功，对景写生，故其所画在构图、造型和透视上无懈可击。一生远离仕途，“落魄不拘世故，”却终于造就其气势雄伟壮观，笔墨刚劲凝厚的绘画风格。董其昌叹谓“宋画第一”。《宣和画谱》著录其存世的画有58件，但至今能见到的，不过十件左右。最著名的宋画的代表作之一的，当推其《溪山行旅图》。206厘米高的巨幅，恢弘压顶的气势，一笔不苟的勾勒，满纸的雨点皴，咄咄逼人的墨气，令人震撼。《秋林飞瀑图》则与之稍有不同，用的是略似小斧劈皴的线皴，这一方面可以看到范宽在师造化的过程中笔墨技法的变化，另一方面似乎也影响了其后李唐与南宋山水画家，开启了一个以斧劈皴为特点的山水画新时期。",[23,24,25,30,202,118,28,1158,5213,117,7,204,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b24fd762e626521ef15ffbc5f9044be.jpg",[],{"id":18320,"slug":18321,"title":512,"dynasty":223,"author":513,"museum":459,"description":18322,"tags":18323,"thumbUrl":18324,"material":179,"size":179,"collection":179,"collections":18325,"showCount":234,"zanCount":928,"manualWeight":48,"mainColor":49},230995,"xiu-yuan-tu-wang-yun-230995","此作以工秀笔触绘就江南私园雅景，亭台临波而起，游廊蜿蜒衔连。水面凫鸭悠游，玲珑湖石与扶苏花木错落排布，晕染出雅致悠然的园居氛围。\n\n堂上主人凭案安坐，侍童侧立随侍，月台、游廊之上仕女游赏低语，将文人日常的闲雅意趣铺陈开来。设色清隽淡雅，界画工整流利，树石皴染兼具质感与文趣，把私园的幽致与园居的松弛心境相融，尽显古典园林绘卷的诗意闲情。",[24,25,28,29,59,61,62,9360,7,2193,63,2246,2450,70,117,69,694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c4696b9a08d524f77b20f5a6383d28.jpg",[],{"id":18327,"slug":18328,"title":18329,"dynasty":223,"author":381,"museum":459,"description":1590,"tags":18330,"thumbUrl":18331,"material":808,"size":809,"collection":179,"collections":18332,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},228988,"bai-miao-luo-han-tu-juan-shi-tao-228988","白描罗汉图卷",[23,152,24,25,26,437,923,61,117,7,4537,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9099139807f3e55a6295db547dc07a8.jpg",[],{"id":18334,"slug":18335,"title":18336,"dynasty":54,"author":10638,"museum":459,"description":18337,"tags":18338,"thumbUrl":18339,"material":179,"size":179,"collection":179,"collections":18340,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},228495,"wu-lu-an-tu-ye-li-shi-da-228495","五鹿庵图页","以鸟瞰全景铺展画面，将江渚山水与庵居雅境相融。江面帆影穿梭、石桥卧波，沿坡蜿蜒的石墙围合出错落屋舍，林木葱茏掩映庭台，有人闲坐堂内叙谈，有人缓步庭中，处处漾着松弛鲜活的烟火气。\n笔墨淡润秀雅，浅赭轻施，以简约笔触勾勒屋舍坡岸，省去繁复皴擦，将禅居的清幽静寂，与江南水乡的鲜活日常糅合无间，把晚明文人梦寐的烟火雅居，晕染在纸幅之上。",[24,28,59,2406,30,62,63,64,115,116,7,61,35,66,1446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca98128af99bcd4311e6d5f04b4bce8.jpg",[],{"id":18342,"slug":18343,"title":18344,"dynasty":54,"author":3582,"museum":459,"description":18345,"tags":18346,"thumbUrl":18347,"material":179,"size":179,"collection":179,"collections":18348,"showCount":234,"zanCount":48,"manua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托在神镇山遇一老翁，在互相问答中提出了气、韵、思、景、笔、墨的所谓绘景“六要”，是古代山水画理论中的经典之作，比更早时期南齐谢赫的“六法论”有所发展，具有更高的理论价值。",[23,24,25,26,114,118,30,7,244,32,1363,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd4a6217abf7c4e35efebb8fee6960f.jpg",[],{"id":18380,"slug":18381,"title":18382,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":18383,"thumbUrl":18390,"material":808,"size":809,"collection":3244,"collections":18391,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":985},226129,"the-walkers-1865-mo-nai-226129","The Walkers, 1865",[3239,7526,14294,61,18384,8254,502,7,411,18385,18386,18387,18388,7527,18389],"男女","长裙","帽子","手杖","自然光","自然场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd069aa2c1877d5b4c0c049e835ddd4ce.jpg",[3244],{"id":18393,"slug":18394,"title":18395,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":18396,"thumbUrl":18398,"material":808,"size":809,"collection":3244,"collections":18399,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":985},225972,"le-pave-de-chailly-in-the-forest-of-fontainebleau-1865-mo-nai-225972","Le Pavé de Chailly in the Forest of Fontainebleau, 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， (1592-168)，明末清初画家。\n字逊之，号烟客、西庐老人等。\n江苏太仓人。\n王锡爵孙。\n出身明代官宦之家，崇桢初年曾任太常寺卿，所以也被称为“王奉常”。\n寄情诗文书画，家藏历代法书名画甚多，反复观摩，并曾得到董其昌等人的指点。\n擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。\n其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。\n与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n开创了山水画的“娄东派”，居清初画家“四王”之首。",[23,24,25,202,114,118,30,62,7,117,204,35,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2852667eb07d849f77f2b9ab7916caaf.jpg",[],{"id":18434,"slug":18435,"title":16887,"dynasty":223,"author":8347,"museum":167,"description":18436,"tags":18437,"thumbUrl":18438,"material":360,"size":18439,"collection":124,"collections":18440,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},224265,"hua-shan-shui-zhou-zhang-zong-cang-224265","《石渠宝笈》所录画作数量，张宗苍名列第一，其上多有乾隆皇帝题诗。此作原本贴于品茗茶舍「试泉悦性山房」壁上。乾隆皇帝认为其画风清峻，可与元代倪瓒和黄公望的作品相匹敌，幅上多则乾隆皇帝御题，其中更提到过去观看张宗苍作画的回忆，并在拳石留白处书一「神」字，显示对此作的高度评价。",[24,25,202,114,118,119,153,30,117,7,206,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0364f6d1ae9eda5d1b76368b4cb7d3ba.jpg","138.1x64.3",[124],{"id":18442,"slug":18443,"title":18444,"dynasty":3235,"author":434,"museum":3752,"description":18445,"tags":18446,"thumbUrl":18447,"material":415,"size":18448,"collection":179,"collections":18449,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},223391,"tong-nian-yin-yan-tu-zhou-yi-ming-223391","同年饮宴图轴","以淡墨晕染出空濛秋山，飞瀑穿云，江流宛转，枯笔皴擦山峦肌理，苍浑朴拙。画面上下分境，山巅高远清寂，江畔林下定坐宴饮，士人们围坐把酒，将林泉幽致与文会雅兴相融。淡墨轻岚间，萧疏古木衬出雅集闲逸，左上题诗呼应知己情谊，笔墨简淡却意韵悠长，尽显文人寄情山水、酬唱为乐的林下风流，将水墨山水的清旷与雅集的温煦意趣揉合一处，自有冲淡恬和的古雅气韵。",[23,152,24,25,202,28,30,61,204,64,244,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6632dbe6c038a2d36128d0dfee1a52.jpg","纵98厘米，横52厘米",[],{"id":18451,"slug":18452,"title":18453,"dynasty":223,"author":2985,"museum":167,"description":11552,"tags":18454,"thumbUrl":18455,"material":3758,"size":18456,"collection":124,"collections":18457,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},223122,"shuang-lin-xiao-si-tu-zhou-dong-bang-da-223122","霜林萧寺图轴",[23,24,202,28,118,30,117,7,10545,63,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e95f112757ec9a532d663ea2c1066f.jpg","79.1x36.8",[124,103],{"id":18459,"slug":18460,"title":18461,"dynasty":223,"author":2985,"museum":167,"description":11552,"tags":18462,"thumbUrl":18463,"material":18464,"size":18465,"collection":124,"collections":18466,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},223117,"hua-fan-zhao-gui-yun-tu-zhou-dong-bang-da-223117","画返照归云图轴",[23,24,25,152,202,475,118,28,341,342,881,2395,7,244,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e89609eb1517d1843f2e8924eba4cf4.jpg","淺設色","251.1x158.6",[124,103],{"id":18468,"slug":18469,"title":10817,"dynasty":223,"author":2985,"museum":167,"description":11552,"tags":18470,"thumbUrl":18473,"material":316,"size":18474,"collection":124,"collections":18475,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},223106,"yun-shan-tu-zhou-dong-bang-da-223106",[23,24,30,114,28,118,202,243,7,204,116,206,37,35,244,211,18471,502,245,500,3755,15019,228,18472],"谷地","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","180.2x71.9厘米",[124,103],{"id":18477,"slug":18478,"title":18479,"dynasty":223,"author":858,"museum":514,"description":859,"tags":18480,"thumbUrl":18482,"material":140,"size":869,"collection":179,"collections":18483,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},223047,"hong-lou-meng-172-sun-wen-223047","红楼梦172",[23,24,29,28,61,170,62,1067,269,117,70,5371,7,18481,6015],"黄叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaeed6a2f207bfa4c0ff0e2a88140b8b.jpg",[],{"id":18485,"slug":18486,"title":18487,"dynasty":223,"author":858,"museum":514,"description":859,"tags":18488,"thumbUrl":18489,"material":140,"size":869,"collection":179,"collections":18490,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},222970,"hong-lou-meng-95-sun-wen-222970","红楼梦95",[23,24,29,28,61,62,30,7,70,500,881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c0f8a526064311858b402e15a02cdd.jpg",[],{"id":18492,"slug":18493,"title":18494,"dynasty":223,"author":858,"museum":514,"description":859,"tags":18495,"thumbUrl":18496,"material":140,"size":869,"collection":179,"collections":18497,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},222956,"hong-lou-meng-81-sun-wen-222956","红楼梦81",[23,152,24,25,29,28,676,62,61,342,2193,5146,6851,7,173,500,69,70,4025,528,117,624,8276,5356],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac0e81cb3119ae54f2e3390d79b514f.jpg",[],{"id":18499,"slug":18500,"title":11384,"dynasty":18,"author":2712,"museum":56,"description":18501,"tags":18502,"thumbUrl":18503,"material":140,"size":18504,"collection":42,"collections":18505,"showCount":234,"zanCount":928,"manualWeight":48,"mainColor":128},221425,"qiu-shan-xiao-si-tu-yan-wen-gui-221425","作品开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,152,24,25,26,114,28,118,30,2042,10545,7,117,37,243,578,579,502,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[42,124,103],{"id":18507,"slug":18508,"title":18509,"dynasty":54,"author":7795,"museum":2458,"description":18510,"tags":18511,"thumbUrl":18512,"material":17447,"size":18513,"collection":179,"collections":18514,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":179},220736,"yan-jiang-die-zhang-tu-hua-xin-you-wen-bo-ren-220736","烟江叠嶂图画心右","此作用笔清隽秀雅，以平远之境铺展烟江盛景。左侧峰峦层叠，苍木氤氲在烟岚之中，山石皴擦简淡却见苍劲；右侧江岸怪石嶙峋，棕榈摇曳生姿，野意盎然。\n\n浩渺江面之上，帆影错落穿梭，岛屿隐现于烟波之间，云雾晕染柔化了山水边界，虚实相生间尽显江南烟水的朦胧柔婉。笔墨晕染柔和清润，将水雾空濛的氛围感尽数铺陈，把观者带入静穆又灵动的烟水天地，尽显吴门画派的写意风神，藏着文人画清雅淡远的诗意。",[23,24,25,26,114,30,118,31,4848,3483,115,156,7,117,775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775d4d497ec1f44b4dd939d7664eb627.jpg","25.6 × 360.8厘米",[],{"id":18516,"slug":18517,"title":18518,"dynasty":54,"author":434,"museum":266,"description":18519,"tags":18520,"thumbUrl":18521,"material":78,"size":18522,"collection":45,"collections":18523,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},220352,"shan-lin-hui-you-tu-yi-ming-220352","山林会友图","这幅小品以虚实相生铺陈意境，左侧重峦叠石以石青、石绿晕染，苍松虬劲古雅，山居掩映于林麓间，笔墨苍秀雅致。右侧烟波浩渺，远山如黛隐于霭色中，汀洲屋舍朦胧悠远，以留白衬出山水空阔辽远。近景松下雅士围坐清谈，悠然会友，将山林雅集的闲适意趣娓娓道来。\n\n整体设色沉稳古雅，咫尺尺幅间兼具山水之旷远与文人雅聚的悠然，尽显雅致含蓄的山水意趣，把林下清谈的雅逸氛围融于青绿山水间，淡墨轻岚里藏着中式文人的精神栖居之所。",[24,25,2895,28,27,30,61,62,7,117,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd57379418541d43f527b09165c063b4.jpg","20.2x21.2",[45],{"id":18525,"slug":18526,"title":18527,"dynasty":54,"author":18528,"museum":514,"description":18529,"tags":18530,"thumbUrl":18531,"material":78,"size":18532,"collection":124,"collections":18533,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},220040,"xi-shan-fei-pu-tu-zhu-shou-fu-220040","溪山飞瀑图","朱受甫","此作用蜿蜒灵动的披麻皴绘就群峰，山石似随波流转，奇崛又带着秀润意趣。画面以平远铺陈左岸烟波，远山澹澹如墨痕晕染，空濛悠远；右岸峰峦错落层叠，巉岩间点缀村居林木，隐逸烟火气融在山水间。\n\n淡墨晕开薄雾，衬出山峦的通透层次，草木萧疏却意态清雅，将江南溪山的灵秀幽寂晕染开来。简淡笔墨里藏着悠游林泉的雅致心境，尽显山水间空寂淡远的文人意趣。",[23,152,24,25,26,114,30,118,341,204,1644,7,69,37,244,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40c200bd39a1f83f4cc800733c7076.jpg","23x147厘米",[124],{"id":18535,"slug":18536,"title":599,"dynasty":54,"author":18537,"museum":167,"description":18538,"tags":18539,"thumbUrl":18540,"material":122,"size":18541,"collection":124,"collections":18542,"showCount":234,"zanCount":928,"manualWeight":48,"mainColor":128},219470,"shan-shui-tu-gu-ning-yuan-219470","顾凝远","此作用淡墨晕染层叠远山，云雾漫过峰巅，虚实相生间晕开空濛悠远的秋意。近岸杂木错落，浅红与苍青点染枝叶，悄然晕出时节变迁。临水篱舍掩映林间，朴雅安闲，宛然可居可游。\n\n画作以干淡细笔勾勒物象，敷色清浅柔和，全凭水墨层次营造萧散简远的氛围，将江南水畔幽居之趣藏于尺幅间，尽显文人画独有的静穆闲雅，引观者沉湎于这一片安谧丘壑，暂忘尘嚣烦扰。",[24,25,202,114,28,118,153,120,30,500,37,7,994,35,5536,1300,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343ffa34c58013098889b77b7d2fe5d6.jpg","82.3x41.2",[124],{"id":18544,"slug":18545,"title":18546,"dynasty":223,"author":1167,"museum":20,"description":18547,"tags":18548,"thumbUrl":18549,"material":122,"size":18550,"collection":44,"collections":18551,"showCount":234,"zanCount":11,"manualWeight":48,"mainColor":128},219211,"bing-xi-tu-jin-ting-biao-219211","冰戏图","冬季严寒萧瑟，景物单调，但是对于调皮贪玩的小孩来说依然不乏游戏项目。宫廷画家金廷标就为我们展现了这种一幅场景。十个小伙伴来到结冰的池塘边，胆大的几个先下到了冰面上，可是太滑了，一不小心就摔了个仰面朝天，想再站出来也不容易，只能尽力支撑着。而岸上的同伴则嬉笑着，跃跃欲试。\n金廷标是清乾隆时期最著名的宫廷画家之一，以人物画见长。他笔下的风俗人物质朴自然，贴近生活，情态生动，令观者心生亲切之感。",[23,24,28,29,61,1170,1422,7,592,173,328,2335,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6864bf5a01739f77580c7a573b3b20.jpg","纵121厘米，横64.8厘米",[44],{"id":18553,"slug":18554,"title":18555,"dynasty":18,"author":434,"museum":299,"description":18556,"tags":18557,"thumbUrl":18558,"material":78,"size":18559,"collection":124,"collections":18560,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},219030,"guan-pu-tu-yi-ming-219030","观瀑图","一条瀑布从山涧中流下，远处的山峰在云雾中清晰可见；在岩石高原的左侧，一个有学问的人拿着杖，仰望着眼前的雄伟山峰。他听着瀑布撞击岩石的声音，看到水蔓延上升，后面跟着一个抱着琵琶的孩子。这幅画是马夏的风格，用大斧头砍的石头，笔力强劲，笔触宽阔，盖子坚硬，使石头的质地很牢固。",[24,25,2895,114,28,30,118,204,61,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c9cc6d2677a6abf31cfae2e0748f4c.jpg","23.2x23.4",[124],{"id":18562,"slug":18563,"title":18564,"dynasty":18,"author":434,"museum":167,"description":18565,"tags":18566,"thumbUrl":18567,"material":78,"size":18568,"collection":124,"collections":18569,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},218988,"pin-quan-tu-yi-ming-218988","品泉图","这幅画描绘了一个在峡谷中的有学问的人和一个提供茶水的童仆，而他摇着扇子喝茶。这幅画没有标记，以前被认为是宋代的作品，但宋代没有这种画风，动荡的笔法更接近明代的山水画风格。",[23,24,152,28,118,30,7,244,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04bddcec30d211866d234b9bd05fadd1.jpg","27.5x57.4",[124],{"id":18571,"slug":18572,"title":18573,"dynasty":54,"author":434,"museum":459,"description":18574,"tags":18575,"thumbUrl":18576,"material":78,"size":18577,"collection":44,"collections":18578,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},218613,"hua-jiu-tu-yi-ming-218613","话旧图","暖褐底色晕染出时光的沉香，画面中三人围坐对谈，姿态松弛自在。居中者执杯浅笑，两侧人物或捧卷凝听，或倾身应答，眉宇间漫溢着旧友重逢的暖意。案上器物雅致，背景树影婆娑，简淡笔触将闲寂氛围晕开。人物衣袂纹理细腻，神态鲜活如昨，似能听见席间低语。整幅画以古朴色调包裹旧友话旧的温情，在静谧中流淌岁月沉淀的醇厚，尽显中式雅集的闲逸况味。",[23,24,25,28,29,61,689,175,7,2406,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e668b85e53b7af5f00acbe03fda8b1.jpg","27x31",[44],{"id":18580,"slug":18581,"title":920,"dynasty":18,"author":434,"museum":111,"description":18582,"tags":18583,"thumbUrl":18585,"material":303,"size":18586,"collection":44,"collections":18587,"showCount":234,"zanCount":928,"manualWeight":48,"mainColor":49},218597,"lian-she-tu-yi-ming-218597","图绘东晋高僧慧远（334-416）于庐山结社故事，无作者款印，为南宋人据李公麟《莲社图》所作的摹本。画分九段，次序井然：一、乘舆者陶渊明，肩舆者其子、门生，童子一人；二、骑马者谢灵运，随侍两人；三、虎溪三笑，捉手相对者慧远、陆修静，旁立辟蛇行者，童子一人；四、设文殊金像赞颂佛事者三人，昙常、道昺、周续之；五、梵僧两人，旁立一耶舍；六、校经五人，刘程之、张诠、惠叡、惠持、惠永，手捧经笈者一人，童子一人，烹茶三人，汲水一人；七、游山两人，宗炳、昙顺。八、经筵会讲，讲说者道生，听讲者雷次宗、道敬、昙诜等；九、濯足者张野，童子一人。",[23,24,25,26,437,923,61,30,63,64,7,244,18584],"洞窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F227278cacb67723b82fe796fc37d2573.jpg","纵28.1厘米，横459.8厘米",[44],{"id":18589,"slug":18590,"title":18591,"dynasty":54,"author":434,"museum":382,"description":18592,"tags":18593,"thumbUrl":18594,"material":78,"size":18595,"collection":44,"collections":18596,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},218512,"shu-xia-du-shu-tu-yi-ming-218512","树下读书图","这幅画描绘了一个坐在树下溪边读书的高士，这种风格在明代的浙江画派、戴进和吴伟中很流行，但这幅画的笔法与吴伟相似，略显疲软。",[23,24,25,202,28,61,7,64,8642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385b9aeb644037ac90a0878724f211a4.jpg","127.5x77.8",[44],{"id":18598,"slug":18599,"title":18600,"dynasty":223,"author":18601,"museum":2956,"description":18602,"tags":18603,"thumbUrl":18605,"material":555,"size":18606,"collection":124,"collections":18607,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},218268,"shan-ting-dui-zuo-tu-jin-kan-218268","山亭对坐图","金侃","寒雪裹峰峦，雾霭轻缠远岫，如淡墨晕开的笺纸。岩畔山亭内，二人对坐，或谈诗或品茗？桥下冰溪暗淌，枯树老枝覆银，疏密间藏着冬日的疏朗。近坡屋舍隐于林麓，似在静待归人。笔墨清润，皴擦间见山石肌理，留白处显天地空寂。整幅画浸着清冷，却又透着文人的雅趣——于皑皑雪景里，觅得一份心之恬淡，让观者也随这山水，沉进那份寂静的安然中。",[23,24,475,114,118,341,116,63,64,7,35,61,117,565,18604,202],"传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4a4c77db794fd25064cded2ea813b8.jpg","189.9x85.7cm",[124],{"id":18609,"slug":18610,"title":3217,"dynasty":18,"author":434,"museum":111,"description":18611,"tags":18612,"thumbUrl":18613,"material":78,"size":18614,"collection":124,"collections":18615,"showCount":234,"zanCount":11,"manualWeight":48,"mainColor":49},218231,"wan-jing-tu-yi-ming-218231","《晚景图》画夜色朦胧中的远山近丘，近景丘岭连绵，大石横卧；溪水环抱，山石以浓墨勾骨，密布山头的树叶分别以焦墨和浓墨密匝点簇。远景山头用淡墨短笔勾勒，背景全用淡墨烘染，以突出晚景主题。从此图的构图布局和笔法用墨看，是一幅综合北南宋山水画体制的佳构。",[24,25,202,114,118,30,117,7,2395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f851ecfa2c8d3ceaa533f612b7e3b1.jpg","纵69.5厘米,横37.6厘米",[124],{"id":18617,"slug":18618,"title":599,"dynasty":223,"author":2985,"museum":382,"description":18619,"tags":18620,"thumbUrl":18621,"material":303,"size":18622,"collection":124,"collections":18623,"showCount":234,"zanCount":928,"manualWeight":48,"mainColor":128},217886,"shan-shui-tu-dong-bang-da-217886","董邦达是中国清朝时期著名的画家，他以其精湛的山水画而闻名。他的山水画通常被认为是清朝山水画史上的里程碑式的作品。\n\n董邦达的山水画风格独特，他追求自然的写实，同时又注重画面的艺术性。他的山水画中通常会出现大量的细节，比如山的形态、树的形态、云的形态等。他善于运用技法，比如水墨描边、油墨浓淡等，使得他的山水画看起来栩栩如生。\n\n董邦达的山水画中通常会出现许多动物和人物，他善于捕捉动物和人物的形态和神态。他的山水画中常常会出现小溪流动、水鸟飞翔、山鹿奔跑等场景。\n\n董邦达的山水画对后来的中国山水画产生了很大的影响，他的作品被认为是中国山水画史上的经典之作。",[23,24,114,118,202,30,63,64,116,156,289,7,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d68ad231b9d749214643923db64fec.jpg","70.8x36cm",[124],{"id":18625,"slug":18626,"title":18627,"dynasty":54,"author":11727,"museum":111,"description":14073,"tags":18628,"thumbUrl":18629,"material":122,"size":14076,"collection":179,"collections":18630,"showCount":234,"zanCount":928,"manualWeight":48,"mainColor":128},214666,"san-jue-tu-6-yao-shou-214666","三绝图-6",[24,25,30,28,385,63,64,7,35,500,115,1665,154,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e731b862b74bacfca285005df0c0ca.jpg",[],{"id":18632,"slug":18633,"title":18634,"dynasty":223,"author":2792,"museum":423,"description":15429,"tags":18635,"thumbUrl":18636,"material":122,"size":179,"collection":179,"collections":18637,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},214596,"fang-gu-shan-shui-ce-8-wang-hui-214596","仿古山水册-8",[24,25,385,28,30,7,1376,500,156,1474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcc549ed03786bc248594ee37ecbe4da.jpg",[],{"id":18639,"slug":18640,"title":18641,"dynasty":54,"author":18642,"museum":111,"description":18643,"tags":18644,"thumbUrl":18645,"material":179,"size":179,"collection":124,"collections":18646,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":18647},202173,"wan-xi-diao-yin-tu-juan-chen-he-202173","宛溪钓隐图卷","陈鹤","画面以水墨皴染铺展宛溪山水之姿，峰峦起伏间林木错落，溪流蜿蜒穿绕于丘壑。孤舟泛波，渔翁垂纶，尽显钓隐之趣；山间茅舍亭台或隐于树荫、或傍水而建，偶有行人穿梭，添几分生活意韵。笔墨灵动，山石以皴法勾斫肌理，树木枝干苍劲、叶色浓淡相宜，整体意境清幽淡远，传递出文人向往的闲适山居之乐。",[24,26,30,114,118,64,115,639,116,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f63764c2f6574dd9dbd8ce1ca9f4cee.jpg",[124],"92846d",{"id":18649,"slug":18650,"title":18651,"dynasty":133,"author":434,"museum":459,"description":18652,"tags":18653,"thumbUrl":18654,"material":808,"size":809,"collection":179,"collections":18655,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":49},290404,"hu-zhuang-xiao-xia-tu-yi-ming-290404","湖庄消夏图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[152,24,475,28,116,62,7,64,117,16377,61,11328,17494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb576252f9e30b64717f3be53b9d92f1.jpg",[],25,{"id":18658,"slug":18659,"title":18660,"dynasty":620,"author":7365,"museum":459,"description":18661,"tags":18662,"thumbUrl":18665,"material":808,"size":809,"collection":179,"collections":18666,"showCount":18656,"zanCount":48,"manualWeight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书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[24,25,202,114,30,118,761,64,1877,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa366e0c0db1f68c15306c566b60c3904.jpg","纵173.2厘米 横51厘米",[124,103],{"id":18732,"slug":18733,"title":18734,"dynasty":223,"author":8347,"museum":20,"description":18735,"tags":18736,"thumbUrl":18737,"material":1218,"size":18738,"collection":124,"collections":18739,"showCount":18656,"zanCount":928,"manualWeight":48,"mainColor":128},236110,"zhang-zong-cang-shan-shui-zhou-zhang-zong-cang-236110","张宗苍山水轴","此图是张宗苍担任宫廷画师期间精心创作的山水画。图中山石反复以线条皴染，再以焦墨点苔，多遍始成，令繁复的林壑不失明爽之致，笔情墨韵间不失苍郁秀雅之气，反映了画家成熟期的典型风格。乾隆皇帝对此图赞赏有加，将它收贮于塞外最重要的行宫避暑山庄，并且在画上题诗三首，以示恩宠。",[24,114,118,30,64,579,289,500,37,7,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946aacb8352879e4db037849980e60c1.jpg","纵143厘米，横75.6厘米",[124,103],{"id":18741,"slug":18742,"title":18743,"dynasty":54,"author":9968,"museum":459,"description":18744,"tags":18745,"thumbUrl":18746,"material":179,"size":179,"collection":179,"collections":18747,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},235088,"ren-wu-tu-zhou-you-qiu-235088","人物图轴","此作用白描绘就林泉雅集，古木流云之下，蕉石映带，流淙婉转。居中高士端坐抚琴，眉宇端凝，指尖落处似有清籁漫溢；左右二人或支颐沉听、或侧身倾神，尽皆沉醉在泠泠弦歌之中。下方童子躬身临流，正掬取清涧活水，一派安然恬和。\n线条挺秀匀净，衣袂宛转灵动，将人物情态刻画入微，草木泉石晕染清浅淡远，尽得吴门雅韵，把文人林下忘机的风流襟怀铺陈开来，笔墨简淡却意蕴悠长，尽显雅致出尘的林下意趣。",[24,202,114,437,29,61,269,117,64,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a50788ae659eef5e08be9d901d33ca7.jpg",[],{"id":18749,"slug":18750,"title":18751,"dynasty":54,"author":4230,"museum":20,"description":18752,"tags":18753,"thumbUrl":18754,"material":1218,"size":18755,"collection":179,"collections":18756,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},233967,"guan-shan-xing-lv-tu-zhou-dai-jin-233967","关山行旅图轴","本幅署款“静庵”，无年款，从趋于成熟的集大成面貌判断，当作于戴进晚年的天顺年间（1457—1464年）。\n作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[24,152,202,114,118,30,540,244,32,35,243,7,205,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac0a0c15fc8e857f3e1f36e5c19ea41.jpg","纵61.8厘米，横29.7厘米",[],{"id":18758,"slug":18759,"title":18760,"dynasty":223,"author":4335,"museum":20,"description":18761,"tags":18762,"thumbUrl":18763,"material":11807,"size":18764,"collection":179,"collections":18765,"showCount":18656,"zanCount":928,"manualWeight":48,"mainColor":128},233217,"kong-shan-jie-wu-tu-zhou-cha-shi-biao-233217","空山结屋图轴","查士标作为明代的遗民画家，持消极遁世的人生观。他在怡情于山水间结交了许多隐士。此图是他68岁时画赠好友玉峰道长的精心之作。构图注重远、中、近三景间物象聚、散的呼应统一关系。近、中景因表现杂木、小桥、独舟、孤亭等细碎物象而为“散状”。远景厚实的山体聚成石壁，它的整体性凝聚了散落的近、中景；而散落的近、中景又打破了远景的平整、呆板，活跃了画面。山石的形体，先以直线勾出轮廓，再以侧锋作疏朗而清晰的竖式皴擦，然后以清淡古朴的赭石等色晕染。树叶的表现方法丰富，或以长短线条表现，或以笔尖戳点，其灵活多变的形态，令本为点景的树木成为全画中不可或缺的一部分。",[24,152,202,114,28,30,118,341,35,7,328,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4469afa6f7c931f51956a8040ea8a7.jpg","纵98.7厘米，横53.3厘米",[],{"id":18767,"slug":18768,"title":2088,"dynasty":223,"author":381,"museum":20,"description":2089,"tags":18769,"thumbUrl":18770,"material":360,"size":2092,"collection":179,"collections":18771,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},233130,"yuan-ji-shan-shui-ce-shi-tao-233130",[24,25,385,114,28,118,30,117,7,35,502,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c90f5b10c8750c2a37695ac1a3187d5.jpg",[],{"id":18773,"slug":18774,"title":17959,"dynasty":54,"author":2636,"museum":20,"description":17960,"tags":18775,"thumbUrl":18776,"material":360,"size":17963,"collection":179,"collections":18777,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},232955,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232955",[24,25,385,114,30,62,64,7,289,120,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8693310f9c6f226c8fad57d3764ba076.jpg",[],{"id":18779,"slug":18780,"title":18781,"dynasty":3235,"author":18782,"museum":459,"description":18783,"tags":18784,"thumbUrl":18786,"material":808,"size":809,"collection":179,"collections":18787,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},231747,"an-tu-tao-shan-shi-dai-song-lin-tu-ping-feng-di-yi-ping-zhang-gu-chuan-231747","安土桃山时代 松林图屏风-第一屏","长谷川","长谷川东白（长谷川等伯，1539年－1610年3月19日）是日本 画家，长谷川画派的创始人。\n他被认为是安土桃山时代（1573-1603 年）的伟大画家之一，最著名的是他的屏风",[23,174,5358,540,7,114,28,118,18785,475],"日本画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96e031bd61161a28d9a520f501cd87ba.jpg",[],{"id":18789,"slug":18790,"title":18791,"dynasty":3235,"author":18792,"museum":459,"description":18793,"tags":18794,"thumbUrl":18795,"material":808,"size":809,"collection":179,"collections":18796,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},231735,"shan-shui-ren-wu-juan-xia-bu-ji-tong-231735","山水人物卷(下部)","吉通","德川吉通（1689年—1713年），德川御三家之一的尾张藩第四代藩主。是第三代藩主德川纲诚的九男，母亲侧室坂崎氏。乳名是薮太郎、吉郎、五郎太。字子中。官职从三位权中纳言。",[23,24,25,26,28,29,59,61,62,30,7,70,69,173,6015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a280d4f710ef9cf58d529163770ed3.jpg",[],{"id":18798,"slug":18799,"title":18800,"dynasty":223,"author":13789,"museum":459,"description":18801,"tags":18802,"thumbUrl":18803,"material":179,"size":179,"collection":179,"collections":18804,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},231015,"long-tan-ting-pu-tu-mei-qing-231015","龙潭听瀑图","此作用高远式构图，以龙潭飞瀑为绝对视觉中心。危崖峭壁以灵动写意的笔墨写就，干湿皴擦并用，苍劲松活。古木虬枝斜出、繁叶层叠，朴拙的点叶技法晕染出山林深秀。\n右下角茅庐内幽人对坐，静聆瀑声喧豗，以幽居之静衬飞泉之动，动静相生尽显林泉雅意。左上题诗与画境呼应，将山川灵秀与文人隐逸襟怀相融，尽显新安画派以画为诗的清雅逸韵，把皖南山水的奇绝藏进笔墨丘壑里。",[23,24,25,202,114,118,30,204,117,7,116,64,153,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be7c7ad00a8eb1f86f60fec81e552e6.jpg",[],{"id":18806,"slug":18807,"title":18808,"dynasty":54,"author":955,"museum":459,"description":18809,"tags":18810,"thumbUrl":18813,"material":179,"size":179,"collection":179,"collections":18814,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},230936,"yan-shu-mao-tang-tu-dong-qi-chang-230936","烟树茅堂图","此作用高远、平远之法铺展，主峰巍然耸峙，以干淡笔墨皴擦山石，尽显浑厚苍朴质感。近景坡岸间杂树错落，或虬曲苍劲，或清疏秀雅，干湿墨色互用，晕染出空濛烟岚，将山林间的氤氲之气娓娓铺陈。\n\n山谷茅堂隐现于林泉间，幽寂清宁，与题诗相映，尽显幽居不踏尘嚣的隐逸意趣。全画笔法松秀灵逸，意境萧散淡远，将文人寄情林泉的雅怀融于笔墨间，尽显南宗山水的静穆雅致。",[24,25,114,118,202,120,153,119,30,18811,18812,117,7],"烟树","茅堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c40f19d70eb1e0f772b02e18b758c7.jpg",[],{"id":18816,"slug":18817,"title":18818,"dynasty":54,"author":955,"museum":459,"description":18819,"tags":18820,"thumbUrl":18821,"material":179,"size":179,"collection":179,"collections":18822,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},230905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-dong-qi-chang-230905","仿黄子久 江山秋霁图","此作用淡墨干笔铺写秋江暮色，峰峦以披麻皴轻擦晕染，温润秀拙间带着松弛的苍厚，坡岸林木萧疏错落，留白托出澹澹江水，空寂淡远的秋意漫溢卷间。\n师法前贤却不囿于形，将元人山水的天真简淡，融于自身秀逸松灵的笔致，以禅意入画，寄寓林泉幽隐的文人心境。卷后诸家题跋绵延，以笔墨赓续宋元文脉，尽显晚明文人画的风雅韵致，是师古自化的上乘之作。",[23,152,24,25,26,114,60,118,120,153,30,243,7,64,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae42bf74014b353f5b93fb8e51f870d3.jpg",[],{"id":18824,"slug":18825,"title":18826,"dynasty":223,"author":18827,"museum":459,"description":18828,"tags":18829,"thumbUrl":18830,"material":179,"size":179,"collection":179,"collections":18831,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},229003,"ni-gu-shan-shui-ce-huang-shan-shou-229003","拟古山水册","黄山寿","此作以留白晕染冬雪覆山，浅绛设色清润柔和，笔墨简淡秀逸。近处崖畔文士凭窗观览，沙岸渔舟静泊，梢公待客将发；中景木桥跨溪，连接两岸林峦，枯木疏枝衬出萧寒之气。远山素净空蒙，整体意境清寂淡远，将文人幽居林泉、寄情山水的闲雅意趣融于雪景之中，萧疏恬静的冬日山居图景跃然纸上，尽显温婉雅致的仿古意韵，澹泊出尘。",[24,28,30,63,64,115,117,7,60,118,61,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fb4f6b62265c8b3a4b2dff321a9b14.jpg",[],{"id":18833,"slug":18834,"title":18835,"dynasty":133,"author":4160,"museum":459,"description":18836,"tags":18837,"thumbUrl":18838,"material":179,"size":179,"collection":179,"collections":18839,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},228046,"qiu-xi-diao-ting-tu-sheng-mao-228046","秋溪钓艇图","元盛懋秋溪钓艇图 中国古画、扇面画 私人收藏 宣纸，尺寸：4.×4.cm\u002F 盛懋，元代画家，字子昭，原籍临安（今浙江省杭州市）。\n承袭父业，以精湛的技艺称誉当世，和吴镇的墨竹、岳彦高的草书、章文茂的笔，共被誉为“武塘四绝”。\n他善画山水，兼作人物、花卉。\n详细介绍“盛懋” 《秋溪钓艇图》绘一叶渔艇行于江中，有一翁于船尾垂钓，右边是茫茫江水，近处可见山石树木，而远处渐见山峦。\n整幅作品结构严整，笔墨清润，在浓郁浑厚的气韵中具有潇洒隽逸的格调",[23,24,28,30,115,64,7,639,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3c21778a859a2f0bf01a09c1d9a01b.jpg",[],{"id":18841,"slug":18842,"title":18843,"dynasty":18,"author":312,"museum":459,"description":18844,"tags":18845,"thumbUrl":18847,"material":179,"size":179,"collection":179,"collections":18848,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":49},227983,"ze-pan-ji-feng-tu-xia-gui-227983","泽畔疾风图","取景偏于一隅，以少胜多尽显空灵意蕴。坡岸古松欹斜偃蹇，枝叶被劲风催动翻卷，将无形疾风化作可见的动势。滩头渔人躬身急收渔具，在仓促忙乱间把江上风急的冷寂氛围具象化。对岸远山以淡墨晕染，崖顶隐于朦胧间，不着一笔却见江天辽远。留白化作淼淼烟波与空阔长天，以虚代实，寥寥数笔便将骤风起于泽畔的瞬态凝固，把江野的清寂苍劲藏在简淡水墨中，尽显山水小景的写意妙趣。",[152,24,25,2895,114,28,30,579,115,639,118,117,7,16100,18846],"疾风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee58dbb89ce2c636b498ecbaa6feb6ca.jpg",[],{"id":18850,"slug":18851,"title":18852,"dynasty":18,"author":4856,"museum":167,"description":18853,"tags":18854,"thumbUrl":18855,"material":316,"size":179,"collection":179,"collections":18856,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},227750,"feng-yan-zhan-juan-zhao-bo-su-227750","风檐展卷","本幅画傍山临水，庭院湖石点缀，长松修竹环抱，营造出文人理想燕居之室。亭内屏前设卧榻，漆桌上置书卷、瓷瓶、香炉，文士右持羽扇，左倚凭几，神态悠闲；左方仕女二人凭栏而立，右方两童手执茶具，趋步向亭。题签订为南宋画家赵伯骕（1124-1182），对幅书法则为乾隆御题。宋人强调「烧香、烹茶，挂画、插花，四般闲事」（见南宋《梦粱录》）。此帧小扇面，除了反映宋代文人品茶挂画的生活文化，更保留了宋代园林建筑及家具的造型特色，弥足珍贵。",[23,152,24,25,28,29,30,61,116,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92817d91df028c880aa3c02bbd0c810.jpg",[],{"id":18858,"slug":18859,"title":18860,"dynasty":18,"author":312,"museum":459,"description":18861,"tags":18862,"thumbUrl":18863,"material":179,"size":179,"collection":179,"collections":18864,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":49},227731,"yao-cen-yan-ai-tu-ye-xia-gui-227731","遥岑烟霭图页","暮色四围，烟岚沉沉，远方数峰缥缈，近处水石萦回，在空茫的背景中衬出树木的剪影一般的身姿。画家夏圭着意渲染出黄昏时分那微茫昏沉的感觉和诗意，犹如醉酒的微醺，令人着迷。",[23,24,114,118,385,30,500,4810,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7af6ddb62a8cb81e7c3c1551de268c7.jpg",[],{"id":18866,"slug":18867,"title":9666,"dynasty":18,"author":3371,"museum":167,"description":18868,"tags":18869,"thumbUrl":18870,"material":179,"size":179,"collection":179,"collections":18871,"showCount":18656,"zanCount":928,"manualWeight":48,"mainColor":128},227636,"bing-zhu-ye-you-tu-ma-lin-227636","《宋马麟秉烛夜游图》是宋代画家马麟创作的一幅古画。\n\n朦胧的幽雾，伴随着鹅黄的月光，轻轻地降临人间。黝黑的短亭、长廊前，一朵朵犹如淡抹著胭脂、醉卧在绿沙中的海棠花们，深深地吸引着屋内主人的目光。他唤来了仆人，点起了蜡烛；在烛光映衬下，他满足地倚坐于亭内，望著这万重绰约如仙的红颜，看得都痴了。\n\n宋人爱花成痴的傻劲儿，是令人称奇，也令人称羡的。其中，又以素有「花中神仙」之称的海棠，最令宋人钟情、痴狂。海棠激发了宋人赏花的热情，不仅不分晴雨，也不分昼夜。古人燃烛夜赏芳华，或为牡丹，或为梅花；但能令宋人「只恐夜深花睡去，高烧银烛照红妆」的，却独独只有海棠。",[23,152,24,25,5161,28,59,62,61,7,30,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35159932efb51b829eecc61539b4cc0.jpg",[],{"id":18873,"slug":18874,"title":18875,"dynasty":18,"author":298,"museum":459,"description":10913,"tags":18876,"thumbUrl":18877,"material":179,"size":179,"collection":44,"collections":18878,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":49},227605,"long-mian-shan-zhuang-tu-er-ju-bu-li-gong-lin-227605","龙眠山庄图二（局部）",[23,152,24,25,437,30,61,117,7,1289,1546,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae494a47b809a3618a60d989e4610588.jpg",[44],{"id":18880,"slug":18881,"title":18882,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":18883,"thumbUrl":18884,"material":808,"size":809,"collection":3244,"collections":18885,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":49},226121,"the-summer-poppy-field-1875-mo-nai-226121","The Summer, Poppy Field, 1875",[152,3239,7526,7419,7418,9940,3148,7,61,5404,4114,1621,411,7530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f20bbfbf4cd1e444441aaf2510ffd5b.jpg",[3244],{"id":18887,"slug":18888,"title":18889,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":18890,"thumbUrl":18894,"material":808,"size":809,"collection":3244,"collections":18895,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},226100,"the-promenade-at-argenteuil-1872-mo-nai-226100","The Promenade at Argenteuil, 1872",[3239,7526,32,1288,7659,7,35,18891,18892,18893],"晴天","郊外","光影色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52599d7943ec530c2bf4ba8472aa1f49.jpg",[3244],{"id":18897,"slug":18898,"title":18899,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":18900,"thumbUrl":18901,"material":808,"size":809,"collection":3244,"collections":18902,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},225942,"haystacks-in-the-sunlight-midday-1890-mo-nai-225942","Haystacks in the Sunlight, Midday, 1890",[7526,3239,14293,7527,28,6958,3148,7,500,7530,11516,411,13916,8254,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f9f843795f535a24dbb0c3700c5fc2.jpg",[3244],{"id":18904,"slug":18905,"title":18906,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":18907,"thumbUrl":18908,"material":808,"size":809,"collection":3244,"collections":18909,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":49},225936,"giverny-willow-and-roses-mo-nai-225936","Giverny, Willow and Roses",[7526,3239,7527,7418,7661,528,10666,411,7,1191,8252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60310cdeb9847ff1032969cee026600.jpg",[3244],{"id":18911,"slug":18912,"title":18913,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":18914,"thumbUrl":18918,"material":808,"size":809,"collection":3244,"collections":18919,"showCount":18656,"zanCount":928,"manualWeight":48,"mainColor":49},225866,"verliefde-paartjes-in-het-park-voyer-argenson-te-asnie-res-fan-gao-225866","Verliefde paartjes in het park Voyer Argenson te Asnières",[152,3239,3240,18915,16503,16515,7,502,411,591,18916,61,18917,8259],"点彩技法","雨伞","花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ded1246c4dd49a367c9b025b00469a.jpg",[3244],{"id":18921,"slug":18922,"title":18923,"dynasty":223,"author":472,"museum":459,"description":18924,"tags":18925,"thumbUrl":18926,"material":179,"size":179,"collection":179,"collections":18927,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":49},224427,"nan-shan-ji-cui-tu-wang-shi-min-224427","南山积翠图","《南山积翠图》是清代画家 晚年创作的一副绢本设色画，现收藏于 。\n画面布置有序，层次井然，笔墨清隽秀润，沉静淡雅，毫无躁气，具有温厚而博大之美。\n《南山积翠图》，该作品按远、中、近三景均采用大量的笔墨描绘。\n画作尺幅虽大，用笔却毫不松懈。\n尤其是中景，刻画得更为精谨。\n草木繁茂、山势蜿蜒，却丝毫没有迫塞感。\n山体曲折、盘桓，观者置身画中，沿山间小路仿佛可以直达无人之境。\n此作题“壬子长夏写南山积翠图，奉祝蓉翁太老亲台七襄大寿并祈粲正。\n弟王时敏时年八十有一”。\n由此题款可知，这是画家为人贺寿之作。\n画作近景刻画了松树，松枝翠绿，枝干姿态各异，暗含“贺寿”这一主题。\n画家刻意将松叶所用的墨色加以区分，墨色浓淡不同、虚实相生，使松树充满生机。\n而对近景山石的处理，他主要师法黄公望———用笔苍劲，多矾头，随意的长披麻皴疏松、秀雅。\n不过，他并不满足于师法一家。\n从对画中山石的点苔来看，他亦受王蒙画法的影响———用浓墨表现。\n可见，他在吸收古人之法时并不是一味地照搬，而是融会贯通，有自己的特点。\n与近景相比，中景的山体更险要，重峦叠嶂。\n为烘托山石奇险之势，画家有意将瀑布、雾霭穿插于山间。\n瀑布顺流而下，隐于山林之间；雾霭从远处飘来，势若蛟龙。\n作品虽未画人物，但中景的房屋却暗示了人物的存在。\n整幅画面虽气势磅礴、山势险峻，却并不冷清。\n山中的楼阁似山林主人居住之所，又似游人休息之处；似画家凭栏独赏之所，又似文人品茗、畅谈之阁，具有浓郁的文人画意味。\n远景中间，山峰如柱，是整个画面的气魄所在。\n山脉随景之推深而愈加陡峭，以浓墨绘就的苍松亦愈加繁茂。\n由此，我们可以感受到画家对生命的敬畏和对受画者大寿的美好祝愿。\n作品构图繁复、行笔缜密、墨色沉静，毫无躁气，给人一种清新、温润的感觉。\n王时敏的《南山积翠图》虽在一定程度上沿袭了前人“三段式”的构图，但细看，不难发现其创新之处。\n画面虽分为远、中、近三景，但呈现出一层坡、二层树、三层山的格局。\n而且，画家还有意识地在构图中加入了起伏、开合之势，为后来王原祁“积石为山”的“龙脉”构图理论打下了基础。\n218年8月15日，该画在辽宁博物馆中国古代绘画展中展出。\n王时敏（1592—168），字逊之，号烟客，江苏太仓人。\n祖父王锡爵在明朝万历时期曾任礼部尚书兼 ，父王衡任翰林院编修，他以荫官任太常寺玺卿，升太常寺少卿，后辞官回乡。\n入清后不仕，以书画自娱。\n自少年起绘画即受到董其昌的指授，又认真观摩和研习家藏及董其昌所藏的诸多前代名画。\n他将古代名家丘壑布景、笔墨技法、意境气韵等元素进行梳理，加以规范化和格式化。\n他尤其尊仰黄公望，深得黄氏笔墨浑厚苍茫的真髓，最终形成布景平稳中寓变化，笔墨圆厚、虚和、雄浑、蕴藉的艺术风格，引领着清初摹古的艺术潮流。",[23,24,25,202,475,118,114,28,30,540,204,37,117,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac2ddc38beea10fbc512f633554005c.jpg",[],{"id":18929,"slug":18930,"title":18931,"dynasty":223,"author":4335,"museum":459,"description":18932,"tags":18933,"thumbUrl":18934,"material":179,"size":179,"collection":179,"collections":18935,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},224255,"tao-yuan-tu-cha-shi-biao-224255","桃园图","此作用笔松秀简淡，以浅绛设色晕染出桃源幽境。左侧村舍错落隐于林樾间，田陇横斜延展，数位乡贤执礼晤谈，稚童随行、家犬嬉游，晕开融融烟火意趣。右侧崖壁清峭苍古，松枝偃仰遒劲，江流宛转萦回，扁舟静泊汀岸，淡施花青赭石点染枝梢，晕开春日柔润清和。\n全画以留白衬出空寂幽远的氛围，将林泉静穆与村居恬和相融，把文人心中避世归乡的桃源理想，化作可感的山水村居图景，尽显萧散简远的审美意趣。",[23,24,25,26,114,118,30,61,35,7,540,154,115,2058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ee26c49185665d7885d138604cf597.jpg",[],{"id":18937,"slug":18938,"title":18939,"dynasty":18,"author":434,"museum":20,"description":18940,"tags":18941,"thumbUrl":18943,"material":40,"size":18944,"collection":42,"collections":18945,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":49},223605,"qiu-lin-fang-du-tu-zhou-yi-ming-223605","秋林放犊图轴","画面描绘了一个男孩在岸边与平坡之间的秋林中给牛溪喂食的场景。 牛肥壮，孩子调皮。",[23,152,24,202,28,29,1158,7,18942,413,153],"牛犊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c9fbfac81e21e219709419b2fe821c.jpg","96.3＊53.2cm",[42,124,103],{"id":18947,"slug":18948,"title":18949,"dynasty":223,"author":434,"museum":20,"description":18950,"tags":18951,"thumbUrl":18952,"material":16060,"size":18953,"collection":179,"collections":18954,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},223383,"nan-yue-quan-tu-yi-ming-223383","南岳全图","《南岳全图》正是以充分表现南岳秀美景色为宗旨，采用了中国传统的山水画画法，以水平方向自右向左形象生动地描绘了长沙省城、湘潭县城、衡山县城、衡州府城等省府县城池，以及寺庙名胜、古塔古木、江中行船等景色。全图色彩淡雅别致，绘制精美细腻，形象生动逼真，使人有如身临其境之感。这是现存已为数不多的南岳图中的一幅不可多得的地图。",[23,24,28,26,118,30,31,7,69,66,32,37,488,116,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e02d4a14616d856e621cceee56f519.jpg","纵32厘米，横210厘米",[],{"id":18956,"slug":18957,"title":18958,"dynasty":54,"author":434,"museum":3521,"description":18959,"tags":18960,"thumbUrl":18961,"material":40,"size":18962,"collection":179,"collections":18963,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":49},223356,"fang-fan-kuan-jin-bi-feng-tu-juan-yi-ming-223356","仿范宽金碧峰图卷","长卷绘山峦连绵，山头绿色点缀，山间云雾缭绕，山脚河水绕山而行，河面或宽阔或窄细，岸上绿树成荫，房舍、良田隐于山中。此画设色厚重，笔力鼎健，山河皆雄伟气魄，房舍、小桥、人物等细节上又精细柔和。",[23,24,26,28,118,60,30,7,117,63,64,116,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0279aacb6bccc03741b537e171d940bc.jpg","32.9×520.5CM",[],{"id":18965,"slug":18966,"title":18967,"dynasty":223,"author":858,"museum":514,"description":859,"tags":18968,"thumbUrl":18969,"material":140,"size":869,"collection":179,"collections":18970,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},223051,"hong-lou-meng-176-sun-wen-223051","红楼梦176",[23,24,29,28,61,63,64,116,7,117,173,26,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d705c643b27e6b9a0f65b0153c33b05.jpg",[],{"id":18972,"slug":18973,"title":18974,"dynasty":54,"author":10419,"museum":167,"description":18975,"tags":18976,"thumbUrl":18977,"material":506,"size":18978,"collection":124,"collections":18979,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},222675,"lin-quan-gao-yi-tu-xiang-sheng-mo-222675","林泉高逸图","水墨绘山水一隅，山石围水而立，山坡平缓起伏，水面宽阔平静，一派安详静谧之气氛。项圣谟，初字逸，号易庵，明末清初画家，善画山水、人物、花卉，擅绘松树，有“项松之名满东南”之誉",[23,24,114,26,30,117,7,33,500,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f17316dac0c91e0c3ee608508eb723.jpg","33x126cm",[124,103],{"id":18981,"slug":18982,"title":1178,"dynasty":54,"author":15480,"museum":56,"description":18983,"tags":18984,"thumbUrl":18985,"material":316,"size":18986,"collection":124,"collections":18987,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},222533,"shan-shui-zhou-wang-duo-222533","王铎认为“创奇景先行”，又回到北宋的山水题材，表达对董其昌（1555-1636）信条的不满：“考虑笔墨之妙，风景无法与绘画竞争。” 这幅画在王去世前一年完成，雄辩地表明了他对绘画内容的喜爱。与绘画相比，他的书法更出名，王将 10 世纪和 11 世纪风景的丰富细节简化为简单的图形惯例。轮廓分明的树木，许多没有叶子，粗短的树枝；山峰顶上的示意图；轮廓鲜明的岩层，无不让人想起十世纪的范宽大师。突出人物、建筑、",[23,24,25,202,114,30,579,35,117,7,32,228,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4efcbdf874c85333870a65dcf74128b.jpg","117.2 x 54.9 厘米",[124,103],{"id":18989,"slug":18990,"title":18991,"dynasty":54,"author":18992,"museum":167,"description":18993,"tags":18994,"thumbUrl":18995,"material":230,"size":18996,"collection":124,"collections":18997,"showCount":18656,"zanCount":928,"manualWeight":48,"mainColor":128},222153,"chun-qi-tu-zhou-gu-yi-de-222153","春绮图轴","顾懿德","顾懿德（?～1633后） 明末松江派画家。字原之。华亭（今上海松江）人。明万历时中书舍人顾正谊之子（或说为侄）。家资丰厚，以父遗产银三万两，在青浦营造役田万亩，以成父志，被任为光禄寺署正。\n善画山水，画承顾正谊家传而受董其昌影响，仿王蒙，行笔秀洁，也画大士像。董及陈继儒颇赏之。",[23,152,24,25,202,27,28,30,117,7,63,64,62,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdbc69544851c619a4c424a6721ef6b.jpg","51.7x32.4厘米",[124,45],{"id":18999,"slug":19000,"title":3398,"dynasty":54,"author":434,"museum":3399,"description":3400,"tags":19001,"thumbUrl":19002,"material":3402,"size":179,"collection":179,"collections":19003,"showCount":18656,"zanCount":928,"manualWeight":48,"mainColor":49},222151,"fu-hui-xi-yi-ming-222151",[23,24,152,3402,923,28,29,61,881,341,7,63,591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20a2dd14f9b984c9282b1e6b580095f.jpg",[],{"id":19005,"slug":19006,"title":12518,"dynasty":133,"author":10393,"museum":20,"description":19007,"tags":19008,"thumbUrl":19009,"material":19010,"size":19011,"collection":179,"collections":19012,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},221824,"xiu-ye-xuan-tu-juan-zhu-de-run-221824","该图末有朱德润自识：“至正二十四年歲甲辰(1364年)四月十日，睢陽山人時年七十一歲。朱德潤並肩。”后钤私印两方。系朱氏临终前的极晚之作。是图画江南山川的平远之景，山林间有文人对坐于书斋中，笔法粗放纵逸，墨色简洁，有苍茫之意。画家大胆地将北宋李成、郭熙描绘北方山水的笔墨转化为表现江南风物的造型语言，并揉进了文人儒雅清澹的审美意趣。画中的书斋为“秀野轩”，将文人的书斋和活动绘于佳山秀水中，是这个时期新出现的山水画题材，直接影响了元末明初早期吴派山水画的审美取向。\n清《佩文斋画谱》、《江村画目》著录。",[23,24,25,26,114,118,120,119,153,30,116,7,63,64,289,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02fb9773db03d4b1979437c1858da6bd.jpg","纸本，水墨淡设色","纵28.3厘米，横210厘米",[],{"id":19014,"slug":19015,"title":19016,"dynasty":133,"author":4160,"museum":423,"description":19017,"tags":19018,"thumbUrl":19019,"material":5384,"size":19020,"collection":179,"collections":19021,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":49},221760,"qiu-xi-fang-ting-tu-sheng-mao-221760","秋溪放艇图","《元盛懋秋溪钓艇图》描绘的是一翁乘一叶渔艇在江中垂钓的情景。绘一叶渔艇行于江中，有一翁于船尾垂钓，右边是茫茫江水，近处可见山石树木，而远处渐见山峦。\n整幅作品结构严整，笔墨清润，在浓郁浑厚的气韵中具有潇洒隽逸的格调。",[23,24,25,2895,114,28,118,30,115,7,64,61,639,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b95ca528463cdf7c6bd6787e8934439.jpg","纵40.0cm，横40.0cm",[],{"id":19023,"slug":19024,"title":19025,"dynasty":54,"author":9142,"museum":2458,"description":19026,"tags":19027,"thumbUrl":19028,"material":19029,"size":19030,"collection":179,"collections":19031,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":179},220726,"chong-shan-shui-xie-tu-li-zai-220726","崇山水榭图","李在，字以政，福建莆田人。明宣德时被征召入宫，与谢环、倪端、石锐、戴进等绘画名手同为仁智殿待诏。东京国立博物馆现藏《破墨山水图》上有日本室町时代画圣画僧雪舟的自赞，谓曾入明朝向当时极具声望的李在学习设色与破墨之法，可见李在画名曾远播东洋。\n\n此幅山水为李在将南、北宋绘画传统融会于一体的成果。近景右侧的蟹爪树向左方斜出，下有一策杖行人与童子步上木桥，似引导观者进入画中的理想世界。后方主山向上蜿蜒攀升，深具北宋巨障山水的体量感，但位置稍偏于画面右侧，将画幅左侧让给河流、远山，层层后退，表现山水的深远感。画中各种人物活动，清晰可见，中心山腰处有两名行人头戴斗笠，手持拐杖，由山后转出，随山径而下；中景处有两名文士造访山间凉亭，亭前则有童子洒扫；山脚处则有一人于水榭中读书。人物比例显得略大，但更拉近了观者与画面的距离，为画作带来亲密感与活泼生机。此外，此画的建构模式，例如充满动势的主山、中景处雾气蒸腾的松林、前景的蟹爪树、各式点景人物等，亦见于李在的其他作品，例如《山庄高逸图》与《山村图》。惟此《崇山水榭图》的皴染更为湿润，山石上骚动的卷云皴近乎隐没于墨染之中，并不明显，而中景右侧的两棵劲挺松树，则接近南宋的松树样式，于李在的传世立轴中较为少见。",[23,24,114,118,202,30,69,63,7,61,64,117,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3089547ba99e8fe6ce6a1d45917564c.jpg","水墨,设色,绢本,立轴","画心：124.3×59.4厘米 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明代乌斯道题跋：“守躬以礼，泣之衣也。养心以静，福之基也。笃于兄弟，家之肥也。诉先裕后，志无递也。胤善继续续，续有辉也。斯真逸处士，熟其非也？乌斯道”。",[23,24,25,61,28,29,540,30,500,411,7,5407,19057],"持杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad73948b5383d12c65013d9bdad1a100.jpg","120.5x44.9厘米",[44],{"id":19062,"slug":19063,"title":19064,"dynasty":54,"author":12598,"museum":167,"description":19065,"tags":19066,"thumbUrl":19067,"material":28,"size":19068,"collection":44,"collections":19069,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},219313,"ge-hong-yi-ju-tu-ding-yun-peng-219313","葛洪移居图","层岩叠嶂间，飞瀑如练倾泻而下，裹挟着山林的清润之气。近景溪畔，板桥横卧，衣袂飘飘的人物或行或驻，似在细说移居的缘由。林间隐现的屋宇，与苍松翠柏相映，暗合葛洪求道隐逸的仙踪。山石勾勒兼施皴染，线条细劲如丝却力道暗藏，树木葱茏有致，每一片叶、每一根枝都透着工致的匠心。人物神情宛然，动态传神，虽寥寥数笔却尽显仙风道骨。整幅画将山水的幽远与人物的清雅融于一体，笔墨间流淌着文人画的雅致韵致，仿佛能让人嗅到山间的草木香，触到溪涧的清凉，窥见那份超脱尘俗的悠然心境。",[24,152,25,29,28,118,30,61,63,64,62,7,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c8046eefcf6f8665afa8c48234b3b0.jpg","49x29.9",[44],{"id":19071,"slug":19072,"title":19073,"dynasty":18,"author":434,"museum":423,"description":19074,"tags":19075,"thumbUrl":19076,"material":78,"size":179,"collection":124,"collections":19077,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":49},218577,"jiang-shang-guan-chao-tu-yi-ming-218577","江上观潮图","远处的山峰被画在了一起，连绵不断地蜿蜒着。在画面中间，潮水上涨，白色的波浪呈直线运行。在近景中，画了一个宫廷船的桅杆，船上有一群人。宫室半隐在蜿蜒的岩石中，周围是树木。",[23,24,2895,28,30,115,7,116,500,10704,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7805309f6a61fe6741cdc38d4d0a8a4.jpg",[124],{"id":19079,"slug":19080,"title":16265,"dynasty":223,"author":16266,"museum":2458,"description":5472,"tags":19081,"thumbUrl":19082,"material":122,"size":5475,"collection":124,"collections":19083,"showCount":18656,"zanCount":928,"manualWeight":48,"mainColor":128},218100,"xin-an-yi-yun-ce-han-zhu-shan-shui-han-zhu-218100",[23,24,25,30,28,118,117,7,62,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f291341f23bb7e28180547e5a748143.jpg",[124],{"id":19085,"slug":19086,"title":19087,"dynasty":223,"author":1533,"museum":111,"description":19088,"tags":19089,"thumbUrl":19090,"material":122,"size":19091,"collection":179,"collections":19092,"showCount":18656,"zanCount":928,"manualWeight":48,"mainColor":128},216977,"fang-song-yuan-shan-shui-ce-8-wang-jian-216977","仿宋元山水册-8","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,24,25,30,60,28,118,385,117,64,7,37,63,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31137973a74e5dcf920e4c89fd5788c.jpg","纵55.4厘米，横36.0厘米",[],{"id":19094,"slug":19095,"title":19096,"dynasty":223,"author":434,"museum":459,"description":19097,"tags":19098,"thumbUrl":19099,"material":78,"size":179,"collection":179,"collections":19100,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":49},216708,"hong-lou-meng-fu-tu-ce-15-yi-ming-216708","红楼梦赋图册-15","木桥横卧溪上，涟漪轻漾着细碎的光。两位女子立于桥间，红衣者凭栏远眺，眉目间似凝着云边的愁绪；白衣者执扇低眉，身姿柔婉如风中垂柳。岸边树影婆娑，枝叶错落间漏下天光，远处屋宇隐在绿意里，飞鸟掠过天际，带起的风拂动了树的影、水的纹。整幅画晕染着江南园林的雅致，将红楼闺阁的闲静时光，凝成一抹诗意的温柔。每处细节都藏着细腻情思：树的繁荫、屋的隐现、鸟的翩跹，仿佛能让人嗅到那时的草木香，听见风穿过叶隙的轻响，触到闺中女儿未说出口的幽思。这抹水墨里的静，恰是红楼故事里最动人的闲愁与清欢。",[23,24,385,28,29,61,170,63,64,7,156,62,2316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd36dfa8e558b65b38a8956433ff60ad.jpg",[],{"id":19102,"slug":19103,"title":19104,"dynasty":223,"author":434,"museum":459,"description":19105,"tags":19106,"thumbUrl":19107,"material":78,"size":179,"collection":179,"collections":19108,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":49},216707,"hong-lou-meng-fu-tu-ce-17-yi-ming-216707","红楼梦赋图册-17","亭榭临池，绿柳垂荫，棕榈倚石，江南园林的清婉漫溢纸面。池面莲叶田田，粉荷点缀如星，水珠滚在叶上似碎玉流转。亭中女子衣袂轻扬，或凭栏低语，或执扇凝眸，温婉神情藏着闺阁的静美。左侧圆窗内，青衫男子伫立遥望，眉眼间漾着几分幽微情愫，似与亭中光景暗通款曲。画面设色淡雅，线条细腻如丝，将红楼情境里的雅致日常与隐约怅惘悄然铺展，如同一阙浸了墨香的旧词，在笔墨晕染间，把古典诗意与含蓄心事揉成了眼前的生动图景。",[23,24,28,29,385,61,170,62,5330,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5146995cdeeb400585041e4c1cc9e43e.jpg",[],{"id":19110,"slug":19111,"title":19112,"dynasty":223,"author":434,"museum":459,"description":19113,"tags":19114,"thumbUrl":19115,"material":303,"size":179,"collection":124,"collections":19116,"showCount":18656,"zanCount":48,"manualWeight":48,"mainColor":128},215618,"tian-xia-ming-shan-tu-ce-yi-ming-215618","天下名山图册","层峦叠嶂间，墨线勾勒出山脊嶙峋之势，皴擦点染晕开草木苍劲生机。几株古松挺立于峰巅，枝干虬曲如铁，似与流云低语。山间小径蜿蜒，行人三两成簇，或行或驻，为静谧山林添几分烟火气。右侧山谷隐现亭台楼阁，飞檐翘角藏于茂林修竹间，与山石流水相映成趣。画面布局疏密有致，留白处似有云雾流转，虚实相生尽显山川悠远意境。笔墨虽简，却将自然雄浑与人文雅致融于一纸，仿佛能闻松涛阵阵、涧水潺潺，叫人沉醉于这方清幽天地。",[24,25,385,437,114,118,30,341,7,116,62,63,64,89,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd70bb88931916c051d525147647bc23.jpg",[124],{"id":19118,"slug":19119,"title":19120,"dynasty":620,"author":434,"museum":167,"description":19121,"tags":19122,"thumbUrl":19123,"material":808,"size":809,"collection":179,"collections":19124,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},287372,"huan-yue-tu-yi-ming-287372","浣月图","褐沉底色晕开朦胧夜色，古木枝桠横斜，将清浅月色剪碎在池面。仕女临池探身，素手掬弄水中月影，似要将一捧清辉揽入怀间。旁侧侍女垂首侍立，红衣小案边的侍女轻放器物，动作柔缓静穆。\n\n笔触细劲绵密，设色淡而不浮，将深闺清夜的幽柔意趣铺陈开来。没有喧哗，唯有夜色裹着女子的闲雅情思，把望月浣月的闺中雅事凝在绢素之上，含蓄温婉的余韵漫开，晕染出旧时光里的静柔诗意。",[24,152,28,61,170,2316,29,591,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9bb8e34d5de75169549aec141b1700f.jpg",[],24,{"id":19127,"slug":19128,"title":19129,"dynasty":54,"author":955,"museum":459,"description":3846,"tags":19130,"thumbUrl":19131,"material":808,"size":809,"collection":179,"collections":19132,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},283760,"fang-gu-shan-shui-tu-ce-ba-kai-dong-qi-chang-283760","仿古山水图册（八开）",[152,24,385,114,30,119,120,153,1067,7,63,116,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71681cfc3387857306541d8538446578.jpg",[],{"id":19134,"slug":19135,"title":19136,"dynasty":223,"author":434,"museum":459,"description":19137,"tags":19138,"thumbUrl":19147,"material":808,"size":809,"collection":179,"collections":19148,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},241961,"kong-que-shi-qian-zhu-bao-peng-lai-xian-jing-pen-jing-yi-ming-241961","孔雀石嵌珠宝蓬莱仙境盆景","以孔雀石叠作仙山基座，皴染出海上洞天的嵯峨灵秀。金为枝干，缀满红蓝宝石、粉碧玺作仙苑珍果，朱红珊瑚立成丹林玉树，攒珍珠为琼花缀枝，玛瑙雕琢成芝草瑶葩。鎏金仙人造像衣袂飘然，灵鹤瑞禽驻足其间，把缥缈的仙家胜境凝缩在方寸之中。诸般珍宝巧嵌互衬，将极致工巧与道家寻仙的浪漫遐想融为一体，尽显清宫御作的奢华雅致，是陈设珍玩里的精工佳构。",[565,19139,19140,19141,19142,371,30,7,61,3287,19143,19144,117,19145,19146],"嵌珠宝","雕刻","玉石","珠宝","盆景","瑞兽","嵌饰工艺","盆景艺术","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc8ff59c8d887945606129714c16be4d.jpg",[],{"id":19150,"slug":19151,"title":19152,"dynasty":54,"author":434,"museum":459,"description":19153,"tags":19154,"thumbUrl":19155,"material":179,"size":179,"collection":179,"collections":19156,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},238998,"wen-jia-xia-shan-gao-yin-tu-zhou-yi-ming-238998","文嘉夏山高隐图轴","此作以层叠山峦铺展高远之境，崖间飞瀑悬垂而下，撞破岩壑沉静，为幽寂山林添就灵动生机。水畔草堂临流而建，屋中主人偃卧观山，阶下童子侍立，尽显山居高隐的闲雅意趣。\n\n画作笔墨温婉秀润，山石以披麻皴写就，淡墨晕染出清润质感，林木点染疏密得宜，浅淡设色衬出古雅格调，将寄情林泉、慕求幽居闲适的心境，融在烟林清旷的山水小景之中，意境萧散淡远，尽显文人山水画的雅逸之致。",[24,202,28,118,30,243,204,206,7,6014,63,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d3a9341797746526cddd68189ee910.jpg",[],{"id":19158,"slug":19159,"title":19160,"dynasty":223,"author":11241,"museum":459,"description":11242,"tags":19161,"thumbUrl":19162,"material":179,"size":179,"collection":103,"collections":19163,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},238319,"yan-yu-lou-tu-zhou-dong-gao-238319","烟雨楼图轴",[24,202,114,30,62,7,32,6897,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae96fa2834c3c09ba001a9aaec286bb.jpg",[103,1822],{"id":19165,"slug":19166,"title":6800,"dynasty":223,"author":2792,"museum":459,"description":6801,"tags":19167,"thumbUrl":19168,"material":179,"size":179,"collection":331,"collections":19169,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},237594,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237594",[24,25,385,114,118,60,30,540,204,117,7,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae0c88738c7130fc52a28d7ea721399c.jpg",[331,45],{"id":19171,"slug":19172,"title":6800,"dynasty":223,"author":2792,"museum":459,"description":6801,"tags":19173,"thumbUrl":19174,"material":179,"size":179,"collection":179,"collections":19175,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},237582,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237582",[24,25,385,114,118,60,30,994,579,289,244,413,7,1768,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57baa8839dc6361ac243cc972732649b.jpg",[],{"id":19177,"slug":19178,"title":19179,"dynasty":223,"author":19180,"museum":167,"description":19181,"tags":19182,"thumbUrl":19183,"material":360,"size":19184,"collection":124,"collections":19185,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},237237,"bai-lu-quan-tu-zhou-fang-shi-shu-237237","白鹿泉图轴","方士庶","方士庶（1692—1751）字循远，一作洵远，号环山，又号小狮道人，一作小师道人，新安（今安徽歙县）籍，家维扬（今江苏扬州）。清代画家。\n能诗善画，书法严密端秀，绘画笔墨敏洁灵秀，气势跌宕飞动，谓之为王原祁后山水第一。受学于黄鼎，山水用笔灵敏，气晕骀宕，早有出蓝之目，时称妙品。兼善花卉写生。其得意之作，皆钤“偶然拾得”小墨印。复以书法名芜城。行楷结构严密，纯学董其昌。惜中寿而殁。亦工诗，有《环山诗钞》。是“娄东派”卓有成就的名家。",[24,25,202,114,118,30,62,7,117,1044,70,500,3755,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd777ea183e5a3b1907c7c59e0962cf28.jpg","369x102",[124],{"id":19187,"slug":19188,"title":1178,"dynasty":223,"author":19189,"museum":20,"description":19190,"tags":19191,"thumbUrl":19192,"material":936,"size":19193,"collection":124,"collections":19194,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},237121,"shan-shui-zhou-cheng-sui-237121","程邃","全图以枯笔焦墨表现丘峦林壑，带有程邃典型的笔墨特征。其渴笔干墨的行笔线条刚劲有力，具有以书入画的金石味，将山石树木荒拙苍老的筋骨之美表现得别有情致，从而成功地勾画出作者理想中那种摆脱尘嚣缰锁、陶然世外的高人雅境。",[24,25,30,114,118,202,341,7,35,206,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aea53b6cd918a5d89fec19f2000ba36.jpg","纵64.6厘米，横29.4厘米",[124],{"id":19196,"slug":19197,"title":19198,"dynasty":223,"author":647,"museum":20,"description":19199,"tags":19200,"thumbUrl":19201,"material":1218,"size":19202,"collection":124,"collections":19203,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},236412,"fang-li-cheng-yan-jing-zhou-wang-yuan-qi-236412","仿李成烟景轴","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,202,114,118,60,30,117,7,35,64,37,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[124,45,1822],{"id":19205,"slug":19206,"title":19207,"dynasty":54,"author":19208,"museum":459,"description":19209,"tags":19210,"thumbUrl":19211,"material":179,"size":179,"collection":44,"collections":19212,"showCount":19125,"zanCount":928,"manualWeight":48,"mainColor":49},236411,"er-xian-zhou-peng-shun-xiang-236411","二仙轴","彭舜乡","画面以淡赭铺底，枯木虬枝缀着寒蕊，晕开清寂幽远的林下氛围。\n\n长仙峨冠长髯，宽袍曳地，持拂尘垂眸含笑，神色悠然和煦，似在静听童子言语。赤足短褐的童子仰首抬望，憨态里满是敬慕，灵动身形衬出稚拙意趣。\n\n画作以顿挫写意的墨线勾勒衣纹，笔力苍劲洒脱，将布料垂坠褶皱尽显，人物神态刻画入微。仙风道骨与童真稚趣相映成趣，以简驭繁的水墨写意间，氤氲出飘然出尘的世外仙气，把高人隐士的闲适清雅铺陈开来，尽显传统人物画的写意神韵。",[24,25,202,114,28,61,5272,5788,7,117,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb06d168bc0594d94200701bd45eefb2.jpg",[44,103],{"id":19214,"slug":19215,"title":19216,"dynasty":223,"author":2792,"museum":20,"description":19217,"tags":19218,"thumbUrl":19220,"material":2012,"size":19221,"collection":124,"collections":19222,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},236391,"zhong-lin-die-zhang-zhou-wang-hui-236391","重林叠嶂轴","“虞山画派”大家王翚(1632－1717)一生的画腊极长，创作精力旺盛，各阶段绘画风格的变化亦较为明显。对此，近代鉴藏大家吴湖帆(1894－1968)题本展王石谷《仿巨然夏山烟雨图卷》中，曾有极为精辟的剖析：“王石谷子(王翚)年四十左右，在娄东王奉常(王时敏)家临摹宋元名迹，艺乃大成，间为太常代笔，亲受指点，益臻神化，故石谷画当以四十至五十为极诣，五十至六十自具面目，六十至七十渐落俗套、每失韵致，七十至八十有衰颓气，八十以外又复变化入神，用笔如万岁枯藤，苍辣兼具，有空前绝后之妙。后人之诋諆石谷者，盖多见其六十以后八十以前作也。”梅景书屋主人之评，的为灼见，其对石谷画风的如数家珍，实得益于其本人鉴藏之丰厚。\n众所周知，近现代的江南地区，无疑是“四王”书画流散与聚集的重镇。不仅吴氏如此，他如庞莱臣、顾文彬、钱镜塘等近现代大藏家亦然，购藏“四王”精品之机会甚多。而他们的旧藏，之后成为了上海博物馆馆藏“四王”的主要来源。以王翚为例，不仅数量逾百，且自成体系，如自王氏四十岁至八十六岁的四十七年中，除四十三、五十六、五十七、五十八、六十及七十六岁这六年无藏品外，其余则可按系年排列。而传世本就不多的王翚四十岁前早期作品，上海博物馆亦拥有重要画作若干。其二，上海博物馆所藏王翚各时期作品，皆有诸多精品与代表作，如四十岁前《早年山水图轴》、《十里溪塘图轴》，四十至五十岁间的《仿曹知白西林禅室图卷》、《元人高韵图轴》、《小中现大图册》、《黄鹤传灯图卷》、《仿关仝溪山晴霭图卷》、《仿黄公望富春山居图卷》，五十至六十岁间的《溪阁晤对图轴》、《重江叠嶂图卷》，六十至七十岁的《泰岳松风图轴》、《西斋图卷》、《寒林雅趣图卷》，七十至八十岁的《六境图卷》、《嵩山草堂图轴》，八十以后如《唐人诗意图轴》、《仿大痴山水图轴》等。其系统性与代表性，对全面把握与理解王翚一生的绘画风格演变，提供了良好的实物基础，这也是本展得以举办的主要缘由。\n另一方面，察考上博王翚作品中所涉及的相关人物，可以发现，这些或受赠者，或鉴题者，在王氏的艺术生涯以及人生轨迹的转变中扮演了重要的角色。同时，亦可注意到，伴随着王翚交游圈的不断拓展，其从艺心态随之产生了微妙的变化。而这种转变，与上述吴湖帆所析其各阶段画风特点，亦有某种程度上的关联，也折射出王翚与同时代如王原祁、八大山人、恽寿平等艺术家在个性、气质方面的些许差异。",[24,25,202,114,118,30,117,7,116,19219,2420],"重林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a0a8445ee5579556a829c666e132ec.jpg","纵129.7cm，横44.1cm",[124,103],{"id":19224,"slug":19225,"title":19226,"dynasty":223,"author":19227,"museum":459,"description":19228,"tags":19229,"thumbUrl":19230,"material":808,"size":809,"collection":44,"collections":19231,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},235533,"xi-xiang-tu-ce-ye-bu-235533","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[24,28,29,59,61,62,7,119,120,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac80e914df48a93e0155599076982791.jpg",[44,103],{"id":19233,"slug":19234,"title":3901,"dynasty":223,"author":9866,"museum":20,"description":19235,"tags":19236,"thumbUrl":19237,"material":506,"size":19238,"collection":179,"collections":19239,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},234302,"shan-shui-ce-zhu-da-234302","朱耷，明太祖朱元璋第十七子朱权九世孙，本名朱统托，字雪箇，号八大山人、箇山 、人屋、道朗等，江西南昌人。其他别号，尚有箇山驴、驴屋、驴汉、人屋、刃庵、拾得、何园、洛园、黄竹园、书年、书疾、八还等，不一而足。其祖父朱多炡、父朱谋觐、叔父朱谋垔均能诗善画。\n朱耷八岁即能诗，十一岁能画山水，悬腕写米家小楷。明亡朱耷为僧为道，所作写意花鸟，形象夸张，笔墨凝練，风格雄奇；山水笔致简洁，静穆疏旷。 花甲始用八大山人署名，常四字连缀，仿佛哭之笑之，为清初四僧之一。",[24,114,118,385,153,30,115,7,117,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F407a0f23048f46ee0041bf52f26c96e4.jpg","纵二六厘米，横四一厘米",[],{"id":19241,"slug":19242,"title":19243,"dynasty":223,"author":13330,"museum":20,"description":19244,"tags":19245,"thumbUrl":19246,"material":1218,"size":19247,"collection":179,"collections":19248,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},233794,"zi-lang-xian-guan-tu-zhou-qian-du-233794","紫琅仙馆图轴","《紫琅仙馆图》原为赵孟頫所作，钱杜曾于京城见过真迹，后为友人月樵先生背临而成。根据该图所题款识可知此图作于清嘉庆二十四年（1819年），作者时年56岁。20余年后（道光二十二年，1842年），此图为梅盦主人所得，又延请钱杜在画上重题一则。\n《紫琅仙馆图》画面意境清幽萧疏，气氛安逸，表现了文人理想化的幽居生活。作者通过对文人高雅清幽的生活环境的描写，来反映他们的生活理想和人品情操。此图虽源于赵氏原作，但用笔细密工整，人物、楼宇刻划精微，古拙之中见灵秀之气，此则是钱氏自家的特点。其构图形式与着色则带有吴门画派的特点，尤其有文徵明“细笔”画法的影响。",[24,202,28,30,62,63,61,7,118,29,153,119,117,69,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756d04cdbae0e571becc2aae1f06cd9f.jpg","纵132厘米，横27.1厘米",[],{"id":19250,"slug":19251,"title":19252,"dynasty":133,"author":5718,"museum":20,"description":19253,"tags":19254,"thumbUrl":19255,"material":1218,"size":19256,"collection":179,"collections":19257,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},233408,"shan-ju-tu-juan-qian-xuan-233408","山居图卷","作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。",[152,24,25,26,28,30,114,118,119,120,438,153,63,64,115,116,7,639,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987744740f1b031a82f445c16be438f2.jpg","纵26.5厘米，横111.6厘米",[],{"id":19259,"slug":19260,"title":19261,"dynasty":223,"author":12114,"museum":20,"description":19262,"tags":19263,"thumbUrl":19264,"material":360,"size":19265,"collection":179,"collections":19266,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},233146,"guan-chao-tu-zhou-xu-gu-233146","观潮图轴","《清虚谷观潮图》的画面上茫茫的海面，水天一色，浪花飞舞，惊涛骇浪。海边上岩石古树楼阁屹立，阁内有二闲者正准备去观海，引导人们将视线转向画面的中心。山石用重墨勾勒，水以淡墨烘染，有虚有实，有浓有淡，并巧妙地留出空白作云气，使画面境界显得十分深远辽阔。自题：“观潮图写为静岩五兄先生雅属虚谷”。",[24,202,28,29,118,30,62,7,117,10704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9588a908a46223d62aa1695784aa326.jpg","纵40.5厘米，横39.4厘米",[],{"id":19268,"slug":19269,"title":536,"dynasty":54,"author":19270,"museum":167,"description":19271,"tags":19272,"thumbUrl":19274,"material":360,"size":19275,"collection":179,"collections":19276,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},232694,"pin-cha-tu-ju-jie-232694","居节","居节，明代吴门画家，文徵明弟子。在文门子弟、门生当中，居节的声名不若文彭、文嘉、王榖祥、周天球、陆治、钱榖等人显赫，但却能克绍恩师艺风，善画能诗，有着相当高的艺术水平。",[24,25,202,114,28,30,61,7,64,119,120,153,116,912,19273,2451],"题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb09016bd62c010c7b21fc206e650aa.jpg","本幅 107.1x28.9公分、詩塘 50.4×28.9公分、全幅 52.5公分",[],{"id":19278,"slug":19279,"title":19280,"dynasty":223,"author":4335,"museum":658,"description":19281,"tags":19282,"thumbUrl":19283,"material":360,"size":19284,"collection":179,"collections":19285,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},232607,"shan-shui-ren-wu-ce-cha-shi-biao-232607","山水人物册","《仿各家山水册》，纸本，共十开，仿十大家画法，每幅纵22厘米，横]7厘米。笔法纯熟，墨法精妙，其画风、画法的渊源，都是从宋元明人家的山水画汲取养料，追求他们的韵味和笔墨情趣，为自己所创造的艺术境界服务。\n第一开，仿王蒙，设色，图作群山、松林寺塔，云雾缭绕，老者曳杖，童子随后，书“黄鹤山樵”四字。王蒙，元代画家，字叔明，号黄鹤山樵等，浙江吴兴(今浙江湖州市)人。善诗文、书法，工人物，尤精山水。写景多稠密，径路迂回，烟霭微茫，曲尽山林幽致，用解索皴和渴墨点苔，表现林峦郁茂苍茫的气氛，尤为独到。\n第二开，仿倪瓒，以水墨写平远山水景色，笔墨精妙，韵味隽秀，书“倪离士笔意”。倪瓒，元代书画家、诗人，字元镇，号云林，人称“倪高士”，江苏无锡人。擅画水墨山水、竹石，用笔方折遒劲，刨“折带皴”写山石法。疏林坡岸，浅水远山，墨色简淡，意境清远萧疏。\n第三开，仿张僧繇，以没色没骨法作山树人物，色彩绚丽，书“张僧繇没骨法”。张僧繇，南朝梁画家，江苏苏州人。工写真、释道人物，尤精画龙。用红绿重色画山水，先图峰峦泉石，后染匠壑暖岩。不用墨线勾勒，直接用墨色或彩色描绘物象，开创了“没骨法”山水的画法。\n第四开，仿黄公望，以水墨作高山、林木、村舍、流泉，意境深远，书“一峰道人”四字。黄公望，元代画家，字子久，号一峰道人、大痴道人等，江苏常熟人。构图繁复丰满，皴笔不多，格调温润柔和，气势雄健，有“峰峦浑厚，草木华滋”之评。\n第五开，仿王绂，浅设色，绘群山连绵，溪水平静，林木亭屋，富于节奏韵律，书“九龙山入画意”。王绂，明代画家，字孟端，自号九龙山人，江苏无锡人。擅画巨幅山水，也作平远小景，风格苍郁清润，尤精墨竹，有“出姿媚于遒劲之中，见洒落于纵横之外”之评。其墨竹，在明代很有影响。\n第六开，仿米芾，以水墨作云山，云雾迷蒙，书“拟米襄阳”叫字。米芾，北宋书画家、鉴定家，字元章，号襄阳漫士，祖籍山西太原，迁居湖北襄阳，世称“米襄阳”。画山水天真发露，不求工细，多用水墨点染，即横点积叠画法，突破勾廓添皴之传统，开创了“米家云山”新风貌。自谓“信笔作之，多以烟云掩映树石，意似便巳”。\n第七开，仿方从义，近坡显寺，远山云塔，流泉如带，淡设色，书“方上清意”四字。方从义。，元代画家，字无隅，号方壶，江西贵溪人，擅画山水，“写得湖山事事嘉”。高山从林，笔致跌宕，意境幽藏。能诗文，并工古篆、隶书、章草。\n第八开。仿徐幼文，以水墨作幽舍桥亭，平湖远山，书“元人徐幼文法”。徐幼文，名徐贲，宁幼文，号北郭生，江苏苏州人。擅画山水，嘉树野泉，笔墨清润。层次井然，工诗文，也擅长墨竹，浓淡配合，尤为和谐优美。\n第九开，仿赵盂頫，平坡绿树，湖画广阔，建立小桥，彼岸流泉，浅设色，书“赵承旨” 三字。赵盂頫，，元代书画家、文学家，字子昂，号松雪道人，浙江吴兴(今浙江湖州)人。擅画山水、人物，工墨竹、花鸟，以飞白法画石，以书法用笔写竹，皆以笔墨圆润苍秀见长。\n第十开，仿郭熙，以水墨作雪景，曲堤长桥，枯草秃树，全景堆银砌玉，清静致远，题：“郭河阳法，拟古十册奉正于升先生，时丙午长至又二日，士标呵冻纪事”。郭熙，北宋画家，字淳夫，河南温县人。工画山水，画山石多“卷云”或“鬼脸”皴法；画树枝如蟹爪下垂，笔力劲健，水墨爽洁。对四季山水有“春山如笑，夏山如滴，秋山如妆，冬山如睡”之况。",[24,114,118,385,30,61,63,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d81252af5e22b8cb3c78773254a0281.jpg","纵22厘米，横]7厘米",[],{"id":19287,"slug":19288,"title":19289,"dynasty":3235,"author":434,"museum":459,"description":19290,"tags":19291,"thumbUrl":19292,"material":808,"size":809,"collection":179,"collections":19293,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},231686,"ping-an-shi-dai-hou-qi-fu-nie-pan-tu-er-yi-ming-231686","平安时代后期 佛涅槃图二","佛陀右胁安卧于娑罗双树间，神色静定无波，躯体舒展柔和，尽显圆寂时的超脱淡然。周遭诸天圣众、佛门弟子环伺垂立，或垂首哽咽，或俯身哀恸，神态各异，将天人同悲的沉恸尽数铺陈。\n\n古旧斑驳的底色里，朱红石绿虽已黯淡，仍可窥见昔年设色的厚重庄严。画面以静穆的涅槃之姿，衬以群像的悲恸哀戚，在动静反差间，诠释寂灭的圆满与送别者的不舍，尽显这类题材特有的悲悯与庄严。",[23,24,152,923,28,61,7,156,579,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4255253992ef4343df6460318aa80d0.jpg",[],{"id":19295,"slug":19296,"title":19297,"dynasty":54,"author":434,"museum":3521,"description":19298,"tags":19299,"thumbUrl":19300,"material":179,"size":179,"collection":179,"collections":19301,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},231510,"yue-ye-gui-zhuang-tu-yi-ming-231510","月夜归庄图","这一张明代不知名画家的作品，一张月夜归庄图，如今这一张作品被珍藏在了美国弗利尔美术馆之中，普通人想要见它一眼还真的不容易。\n这一张作品被研究古画的专家给出价格超过1500万，甚至更高。而给出高价的原因也比较有意思，那就是这一张画太有意境感了，画的是古人月夜下主人骑马晚归的场景，如李白诗句里面的场景一样。\n且不说一模一样吧，但看到这一种距今已经超过600多年的山水与人物写意作品，肯定是给一个高价没有错，另外看这一张作品是谁画的？时代背景如何，如果真的是出自名家之手，那就是真正的精品好作品了。\n仔细看这一张作品，其实它应该算是当时的一个赝品，为什么这么说呢？首先从作品的笔法与绘画的水墨风格来讲，这是属于当时浙派的全面模仿风格。因为在当时那一个时代范围内，这一类的绘画作品出现太多，而且是同一时间出现的。\n所以专家说这一张作品并不是真迹，但它对于现代人来讲，却是距今600多年的真迹，不管管是谁画的，作品是好作品，而且是到代的作品，很不错。\n这一幅画的原题取名是：唐卢浩然月夜归庄图真迹。但研究者表示这是古人的信口之说，应该是明代画家所画，但不是出自当时的名家之手，仅仅只是属于当时一个没有名气的画家之手。\n但尽管是没有多少名气，可仔细看作品，主人骑在一匹马的身上，然后由一个童子牵着这一匹马，马儿比较累的样子，但很壮实。另外前面的空地上还放着一个古代的担子，一个穷苦的农人正在开门。\n既然是夜归，马儿的累，主人的归意，都写在了作品之中，真不愧是一张好作品。",[23,24,114,28,30,118,2316,540,117,61,90,358,64,37,7,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ac5f742455c4c915baf05cc2a8e766.jpg",[],{"id":19303,"slug":19304,"title":11506,"dynasty":133,"author":636,"museum":167,"description":19305,"tags":19306,"thumbUrl":19308,"material":140,"size":19309,"collection":179,"collections":19310,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},231382,"shuang-song-tu-wu-zhen-231382","全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。\n两松平地直立，上顶天，下立地，几乎占据了整个画面。两树均挺拔茂盛、枝叶桠槎、形势奇古。左松树身中下部曲成弧形，卧于地，中部挺直、劲健，顶部突然探向右方；右松直立挺拔，上部一个近于直角的弯曲，伸向右，于左松一树枝的上方又一个近于直角的弯曲，然后冲向高空。这样两松空中交插，成为X形，一种挺拔、孤傲、相依相扶的形象展示于画面。两松枝叶间点缀以清溪茅舍、远山丛树，更显出双松的高大、雄伟。\n画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。",[24,25,114,118,202,30,540,117,500,7,413,19307],"石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf0fcc10dffdd8cca23f577240f388d.jpg","纵180厘米横111.4厘米",[],{"id":19312,"slug":19313,"title":19314,"dynasty":223,"author":2792,"museum":459,"description":19315,"tags":19316,"thumbUrl":19317,"material":179,"size":179,"collection":179,"collections":19318,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},230960,"guan-mei-tu-wang-hui-230960","观梅图","观梅图卷，清代，王翠作画。\n纸本，画心纵28.8，横7.厘米。\n浅设色，写峰峦幽深，飞瀑流泉，半山高台处筑一草亭，亭内盘坐一人，倾身仰望溪流边芬芳吐艳的红梅。\n用笔虽简，但人物的神态竟被捕捉无遗。\n草亭四周翠竹环绕与远处的密林构成一种清幽的环境。\n山石多用干笔皴擦，配以浓墨苔点，古朴苍劲，款署“耕烟散人王翚画于天潭邃谷”，钤“耕烟散人时年七十有四”。\n此图当为康熙四十五年(176)所作。\n鉴赏章有“乾隆御览之宝”、“宣统鉴赏”等章。\n原为清内府所藏，现藏旅顺博物馆。",[24,25,114,118,30,4124,116,204,64,117,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8a2eb106bca04ce73a4b61fc1f9cf4.jpg",[],{"id":19320,"slug":19321,"title":19322,"dynasty":223,"author":4731,"museum":459,"description":19323,"tags":19324,"thumbUrl":19325,"material":179,"size":179,"collection":179,"collections":19326,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},228953,"shan-shui-li-zhou-yuan-jiang-228953","山水立轴","此作用高远、平远之法铺展丘壑，烟岚轻笼层叠峰峦，虚实掩映间晕开幽寂氛围。幽谷飞瀑垂落，亭台楼阁错落栖于崖畔水岸，尽显雅致逸趣。近岸林木扶苏，渔舟泛于涟漪之上，渔人悠然摇橹，野逸生机跃然绢素。\n\n笔墨苍秀兼工带写，山石皴擦兼具厚重质感与氤氲气韵，设色古雅沉静，糅合院体的精细整饬与文人山水的萧散意趣，将江南山林温润空濛的灵秀之态描摹尽致。观之如临林泉，恍可听瀑声、闻棹歌，尽得山水意境之美。",[24,202,28,30,204,7,35,115,116,59,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffacdf90198a83bdeccf8510a9ccdbe3d.jpg",[],{"id":19328,"slug":19329,"title":19330,"dynasty":54,"author":1341,"museum":459,"description":19331,"tags":19332,"thumbUrl":19333,"material":179,"size":179,"collection":179,"collections":19334,"showCount":19125,"zanCount":928,"manualWeight":48,"mainColor":49},228433,"xie-qin-tan-mei-tu-du-jin-228433","携琴探梅图","画面以淡墨晕染出清寂冬山，古松虬枝横斜，苍劲老辣。寒溪蜿蜒穿谷，水波轻漾间漾出幽冷空茫。曳杖文士缓行山径，衣袂翩然尽是闲适从容，侍童抱琴紧随其后，将文人携琴探梅的雅兴藏于萧寒丘壑。\n\n笔墨洗练疏朗，山水皴擦简括写意，人物线条清劲灵动，淡墨轻岚晕染出空寂淡远的氛围，将冬日山林的萧寒清冷与文人寻幽访胜的孤高雅趣相融，于简淡之中尽显出超尘脱俗的文人情致。",[23,24,28,29,61,30,4124,1840,289,579,500,1290,7,3755,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09df8d050a7184bf123970b4c974cb8.jpg",[],{"id":19336,"slug":19337,"title":19338,"dynasty":133,"author":7139,"museum":167,"description":19339,"tags":19340,"thumbUrl":19341,"material":177,"size":19342,"collection":179,"collections":19343,"showCount":19125,"zanCount":928,"manualWeight":48,"mainColor":49},228080,"yan-bo-yu-le-tu-tang-di-228080","烟波渔乐图","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[23,24,25,152,30,28,118,639,115,462,2123,61,7,117,3756,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d088d56e193089f1d069008aa3898d9.jpg","纵160.1 横106.2 公分",[],{"id":19345,"slug":19346,"title":19347,"dynasty":133,"author":5718,"museum":459,"description":19348,"tags":19349,"thumbUrl":19350,"material":179,"size":179,"collection":179,"collections":19351,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":1138},228017,"shan-ju-tu-quan-juan-qian-xuan-228017","山居图全卷","《山居图》是元代画家钱选创作的一幅纸本设色画。\n卷尾作者自题：“山居惟爱静，日午掩柴门。\n寡合人多忌，无求道自尊。\n鷃鹏俱有志，兰艾不同根。\n安得蒙庄叟，相逢与细论。\n吴兴钱选舜举画并题。\n”钤“舜举印章”、“舜举”、“钱选之印”三方。\n卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。\n细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。\n钱选，字舜举，号玉潭、清癯老人、巽峰，晚年更号溪翁，吴兴（今浙江省湖州市）人。\n生卒不详，主要活动在1世纪中后期至14世纪初。\n南宋景定（126—1264年）年间的进士，入元不仕，遂寄情山水，流连诗酒，隐于绘事，终其一生。\n他是一位技法全面的画家，花鸟、山水、人物、鞍马无一不擅，且造诣颇深，时人有“老钱丹青当世无”的赞誉。\n元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,25,26,28,30,118,120,7,35,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e6a316c87208793db9c136df079a22.jpg",[],{"id":19353,"slug":19354,"title":19355,"dynasty":18,"author":3618,"museum":459,"description":19356,"tags":19357,"thumbUrl":19358,"material":179,"size":179,"collection":179,"collections":19359,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 伏生授经图\u002F王维（传） 八公图\u002F陈闳（传） 文苑图\u002F韩混（传） 五牛图\u002F韩洗（传） 簪花仕女图\u002F周防 真言七祖·不空像\u002F李真 \u002F佚名 \u002F佚名 二观世音菩萨像\u002F佚名 高逸图\u002F孙位 雪景行旅图\u002F荆浩（传） 琉璃堂人物图\u002F周文矩 后主观棋图\u002F周文矩 宫中图卷\u002F周文矩 十六罗汉图\u002F贯休（传） 夏景山口待渡图\u002F董源 龙宿郊民图\u002F董源 潇湘图\u002F董源 二祖调心图\u002F石恪 晴峦萧寺图\u002F李成 读碑窠石图\u002F李成 寒林骑驴图\u002F李成（传） 明皇避暑宫图\u002F郭忠恕（传） 渔父图\u002F许道宁 聚猿图\u002F易元吉 调马图\u002F郝澄 窠石平远图\u002F郭熙 湖庄消夏图\u002F赵令穰 \u002F李公麟（传） 文会图\u002F赵佶 五色鹦鹉图\u002F赵佶 翠竹双禽图\u002F赵佶 听琴图\u002F赵佶 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一条河湖将两岸隔开，湖水完全自成一体。 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靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。",[23,24,25,385,28,59,61,62,70,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be219b172713f662084b76898f483ec.jpg",[44,45],{"id":19536,"slug":19537,"title":19538,"dynasty":54,"author":955,"museum":167,"description":19539,"tags":19540,"thumbUrl":19541,"material":3867,"size":19542,"collection":124,"collections":19543,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},220958,"qiu-shan-lin-ting-dong-qi-chang-220958","秋山林亭","董其昌《秋山林亭》扇面",[23,24,25,2895,114,118,30,116,7,117,7101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9df9fd07e012519044242350341ba5b9.jpg","35x60.4",[124,103],{"id":19545,"slug":19546,"title":19547,"dynasty":54,"author":955,"museum":2458,"description":19548,"tags":19549,"thumbUrl":19550,"material":385,"size":2462,"collection":179,"collections":19551,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":179},220749,"fang-ge-jia-shan-shui-7-dong-qi-chang-220749","仿各家山水-7","近景苍松虬曲古拙，针叶层叠如盖，旁侧杂木疏朗灵动。中景水面渔舟错落，渔人隐于舟间，似在休憩闲坐。层岩以干笔淡墨皴擦，山峦起伏间林木簇生，墨色浓淡晕染出山峦向背。远景峰峦以淡墨轻描，融于空蒙烟波，留白尽显湖山悠远空寂。\n\n全作用笔松秀空灵，简淡中饱含苍润意趣，脱略具象形态而独取山水神韵，将平淡天真的文人意境藏于虚实笔墨之间，尽显萧散简远的山水格调，寥寥笔墨铺展出清雅绝尘的林下幽居之境。",[23,152,24,25,30,114,118,60,153,7,117,156,64,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa816efc8ede313cf979ab484ec12fee.jpg",[],{"id":19553,"slug":19554,"title":19555,"dynasty":133,"author":4160,"museum":167,"description":19556,"tags":19557,"thumbUrl":19558,"material":114,"size":179,"collection":124,"collections":19559,"showCount":19125,"zanCount":928,"manualWeight":48,"mainColor":128},219958,"ye-qiao-ce-jian-tu-sheng-mao-219958","野桥策蹇图","此作以水墨晕染出山林幽寂之境，圆形取景似截取一段秋日山隅暮色。远山以淡墨轻勾浅染，峰峦在烟霭中隐现，漾着空濛悠远的氛围感。近岸林木攒簇，细劲笔意勾勒枝干，介字、个字点叶错杂层叠，尽显苍茂生机，坡岸以干笔短皴写出，朴拙苍厚间带着山野的荒疏意趣。\n\n野桥匿于林麓，策蹇之人悄然隐于林下，身形虽简却暗合幽行雅吟之题。全作用墨浓淡铺陈远近层次，简淡中见苍茫萧散，将寄情林泉的野逸之思，融于尺幅小景之中，清寂雅致，尽显文人山水的闲淡意趣。",[23,24,114,28,118,385,30,61,63,7,117,2570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4ed64b4c78e7fd07febf0ed221608f.jpg",[124],{"id":19561,"slug":19562,"title":19563,"dynasty":133,"author":10132,"museum":167,"description":19564,"tags":19565,"thumbUrl":19567,"material":78,"size":19568,"collection":124,"collections":19569,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},219502,"qiao-xiu-you-ju-tu-ma-wan-219502","乔岫幽居图","整作取高远构图，崖峰巍峨雄峙，素雪覆于岩岫，以留白衬出冬日清寒。层岩叠壑间枯木寒林错落，溪谷回环浅流蜿蜒，栈道山居掩映山谷间，晕染出幽寂空濛的山居意趣。\n笔墨兼取宋画写实与元人尚意之长，以干笔皴擦勾勒山石肌理，淡墨晕染烘托雪霁朦胧，既见山石嶙峋厚重质感，又尽显山野荒寒萧疏的隐逸氛围，将冬日林泉的清旷雅逸藏于尺幅之间。",[24,25,202,30,118,114,117,7,206,4677,19566],"居所","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd093121f4de9a98bea7379f88dafe3.jpg","纵119.9厘米，横57.8厘米",[124],{"id":19571,"slug":19572,"title":19573,"dynasty":18,"author":19574,"museum":167,"description":19575,"tags":19576,"thumbUrl":19577,"material":78,"size":19578,"collection":45,"collections":19579,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},218874,"shui-xie-he-xiang-tu-ma-yong-zhong-218874","水榭荷香图","马永忠","这幅画描绘了一座水上宫殿，高耸入云，周围是垂柳树，岩石和宫殿的边框用青绿涂抹。",[23,24,25,28,59,385,62,2193,342,7,66,116,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6285e4bd1b8792b86fd7d346f2b0a86c.jpg","25.3x31.1",[45],{"id":19581,"slug":19582,"title":599,"dynasty":18,"author":434,"museum":459,"description":19583,"tags":19584,"thumbUrl":19585,"material":78,"size":19586,"collection":124,"collections":19587,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},218655,"shan-shui-tu-yi-ming-218655","烟岚轻笼的山水间，墨色晕染出远近层叠的丘峦。近处岸石嶙峋，几丛翠竹婆娑，掩映着茅舍一角，似有隐者栖居。开阔的水面如镜，载着天光云影，与远山淡赭相融。远处峰峦起伏，线条柔和却见骨力，林间墨点攒簇，透着生机。整幅画以平远之景铺展，虚实相生间，静谧气息漫溢——无喧嚣，有风过竹梢的轻响、水波微动的涟漪，及远山与云雾私语的温柔。笔墨细腻处见匠心，淡远中藏宋代山水特有的空灵悠远，仿佛能让人步入画中，暂忘尘嚣，独享自然安闲。",[23,24,28,118,2895,30,1665,117,7,32,500,661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdc73cb7bf3381c45ad02cdf01a36547.jpg","24.5x24.5",[124],{"id":19589,"slug":19590,"title":19591,"dynasty":990,"author":434,"museum":5987,"description":19592,"tags":19593,"thumbUrl":19595,"material":5995,"size":179,"collection":179,"collections":19596,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},217283,"jiang-mo-bian-dun-huang-tu-juan-6-yi-ming-217283","降魔变·敦煌图卷-6","画面如叙事长卷徐徐展开：左畔树下群贤毕集，衣袂轻扬间神态恭谨，似在凝神聆听；中段帐幔低垂，魔众袒腹鼓噪或蹙眉挣扎，张力暗涌；右方护法神金甲耀目，怒目圆睁，足下祥云与魔焰交织，威严毕露。线条行云流水，勾勒人物喜怒哀乐；设色古朴淡雅，赭墨交织着岁月痕迹。魔众狰狞、护法刚正、信徒虔诚，三者对比鲜明，将降魔典故的冲突与神圣感渲染得淋漓尽致，尽显敦煌艺术的灵动气韵与厚重底蕴。",[5990,16055,28,437,26,923,61,7,1313,5993,19594,7063,1344,69],"武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05415e527171ea8c27af2cf1bec6c77.jpg",[],{"id":19598,"slug":19599,"title":19600,"dynasty":223,"author":2792,"museum":382,"description":4288,"tags":19601,"thumbUrl":19602,"material":122,"size":4291,"collection":179,"collections":19603,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":128},217211,"fang-gu-shan-shui-shi-er-kai-qi-wang-hui-217211","仿古山水十二开(七)",[24,114,28,118,385,540,117,500,1289,1665,64,7,4075,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c32ce4200c41428eb08270af482d9f5.jpg",[],{"id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画中有案面两头翘起，两足为竖条组成的板式足，足下安托子，保留隋唐以来直栅足跗的遗意。坐榻体大厚重，足下有托泥，形成箱形榻体亦以壶门装饰。榻之三面以画屏装饰，屏风上绘墨竹。屋旁置有三层圆腿书籍架格。",[24,25,202,29,28,30,61,62,7,117,19677,119,153],"书房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286af7d0b0d9bd266ca815cb5e318ec.jpg",[],{"id":19681,"slug":19682,"title":19683,"dynasty":18,"author":312,"museum":459,"description":6499,"tags":19684,"thumbUrl":19685,"material":808,"size":809,"collection":179,"collections":19686,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":49},289945,"yao-cen-yan-ai-tu-xia-gui-289945","遥岑烟霭图",[23,2895,24,152,114,118,30,243,7,676,4810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf728f7b38a208795cc80156bf7dc13e.jpg",[],{"id":19688,"slug":19689,"title":19690,"dynasty":18,"author":5229,"museum":459,"description":19691,"tags":19692,"thumbUrl":19693,"material":808,"size":809,"collection":179,"collections":19694,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":49},288548,"xiang-xiang-xiao-jing-tu-zhao-shi-lei-288548","湘乡小景图","字公震，承平王孙，生卒年不详，曾任襄州观察使等职。\n描绘的是仲夏时节宁静安谧的湖塘一隅。该画卷是赵士雷唯一的传世画迹。",[23,152,24,26,25,28,30,171,156,2998,64,289,7,17575,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847e87be85d07444a5c7951d5d0f349.jpg",[],{"id":19696,"slug":19697,"title":3901,"dynasty":223,"author":16118,"museum":459,"description":19698,"tags":19699,"thumbUrl":19700,"material":179,"size":179,"collection":124,"collections":19701,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},238987,"shan-shui-ce-yang-jin-238987","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,25,385,28,30,118,7,1289,115,64,500,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b2b48963874015c5128a1c9ccdd5a4.jpg",[124,45],{"id":19703,"slug":19704,"title":19705,"dynasty":223,"author":19706,"museum":459,"description":19707,"tags":19708,"thumbUrl":19709,"material":808,"size":809,"collection":44,"collections":19710,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},238544,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238544","陈书画历代帝王道统图钱陈群书赞合册","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,25,385,28,29,61,120,119,153,7,117,592,760,1344,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1bf6b2c65b651b60c09fe8353699f2.jpg",[44,45],{"id":19712,"slug":19713,"title":19714,"dynasty":223,"author":4999,"museum":459,"description":19715,"tags":19716,"thumbUrl":19717,"material":808,"size":809,"collection":331,"collections":19718,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},238541,"hua-shou-pu-ce-yu-sheng-238541","画兽谱册","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,25,385,28,1855,30,117,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9544dfd446f8c2df9428c8857d17029f.jpg",[331,45],{"id":19720,"slug":19721,"title":19722,"dynasty":223,"author":1533,"museum":459,"description":10958,"tags":19723,"thumbUrl":19724,"material":179,"size":179,"collection":124,"collections":19725,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":49},238120,"zi-jiu-shan-shui-zhou-wang-jian-238120","子久山水轴",[24,202,114,30,118,243,7,35,63,64,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec101e743627000ca6e774bee120ef.jpg",[124,103],{"id":19727,"slug":19728,"title":19729,"dynasty":223,"author":19730,"museum":459,"description":19731,"tags":19732,"thumbUrl":19733,"material":179,"size":179,"collection":124,"collections":19734,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},237564,"hua-fen-yong-xiao-shi-shi-ce-wang-fu-237564","画分咏小石诗册","王凫","此作以开合之景铺展山居雅趣，高岭卧石隐于浅草疏林，溪谷蜿蜒穿林而过，将画面裁为丘山与雅居两处景致。坡岸林间，士人围坐清谈，草亭之内宾主对坐酬唱，右侧层叠楼阁依岩而建，有人凭栏远眺。设色淡雅清和，赭石晕染山峦，花青点染林木，笔致秀润细腻，将文人士子幽居雅集的闲逸尽数铺陈。整体氛围安恬静穆，林下风流与山居幽趣相融，将江南山居的清旷雅致凝于尺幅之间，藏着文人栖居林泉的浮生雅事，尽显丘林雅韵。",[24,25,385,28,59,29,30,116,62,63,64,61,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3599c8cb93fc6d7c7fb6bd6e4a8dcf3c.jpg",[124,45,1822],{"id":19736,"slug":19737,"title":19738,"dynasty":223,"author":2792,"museum":459,"description":19739,"tags":19740,"thumbUrl":19741,"material":179,"size":179,"collection":1822,"collections":19742,"showCount":19652,"zanCount":928,"manualWeight":48,"mainColor":128},237459,"mo-chi-feng-yu-zhou-wang-hui-237459","墨池风雨轴","王翚(1632--1717)，清代画家。字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等，江苏常熟人。祖上五世均善画，父王云客专画山水，画风秀雅。王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后受王鉴赏识，被其收为弟子，教他读书和学习书法。又从师王时敏。其山水画虽以临古入手，但并非专摹一家，王维的雪景、李成的寒林、董源的平峦远渚、巨然的秋山萧寺、王诜的渔村小雪、米氏父子的云山烟雨以及元代黄公望、吴镇、王蒙、倪瓒的作品，都是他摹绘的对象。他于传统技法有很深的功底，而且能融会贯通，合众长于一手，但又不完全为成法所束缚，比较注重写生。他贯通诸家，以南宋笔墨，运北宋丘壑，创造出秀润多姿的风格和面貌。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。有《康熙南巡图》（与杨晋等人合作）、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[24,114,202,118,119,153,30,341,342,37,7,35,115,204,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e681591a3a90ad29ea44492c596fa2c.jpg",[1822],{"id":19744,"slug":19745,"title":19746,"dynasty":223,"author":4335,"museum":20,"description":19747,"tags":19748,"thumbUrl":19749,"material":360,"size":179,"collection":124,"collections":19750,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},237208,"shu-hua-he-bi-ce-cha-shi-biao-237208","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[24,25,385,114,30,120,118,7,35,244,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e055ebce03d4fbdd5de2d3bc3d6a0db.jpg",[124,45],{"id":19752,"slug":19753,"title":19754,"dynasty":54,"author":19755,"museum":459,"description":19756,"tags":19757,"thumbUrl":19758,"material":808,"size":809,"collection":179,"collections":19759,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},236801,"chi-bi-tu-shan-mian-liu-yuan-qi-236801","赤壁图扇面","刘原起","初名祚，以字行，更字子正。工诗，画山水，师钱谷，颇肖其神",[24,25,2895,114,30,118,115,117,7,61,32,501,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85014b4daa5b192d99d625c5a10d25b.jpg",[],{"id":19761,"slug":19762,"title":19763,"dynasty":223,"author":19764,"museum":459,"description":19765,"tags":19766,"thumbUrl":19767,"material":179,"size":179,"collection":124,"collections":19768,"showCount":19652,"zanCount":928,"manualWeight":48,"mainColor":128},235923,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235923","湖山梵刹图册","潘恭寿","这幅山水以淡墨轻晕远山，层峦在烟霭中虚实错落，似被晨雾揽入怀抱，晕开悠远空寂的意境。近岸林木以水墨点染，苍润的枝叶错落生姿，烟波水泽之上孤舟独行，更衬出湖面的浩渺清寂。林间隐露梵刹一角，将禅意悄藏在湖山深处，与清远景致相融无间。\n\n画面题诗与笔墨呼应，诗画相生，以浅绛淡墨绘就江南湖山的空濛灵秀，将禅寂澹泊揉入山水烟岚，观之如身临幽寂水畔，可感风烟俱净的安宁，尽抒寄情丘壑的文人襟怀。",[24,114,30,11554,115,7,37,118,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedbd2ce17f3643e153453e3dffb7440.jpg",[124,45],{"id":19770,"slug":19771,"title":19772,"dynasty":223,"author":2792,"museum":459,"description":12705,"tags":19773,"thumbUrl":19774,"material":808,"size":809,"collection":179,"collections":19775,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},235369,"fang-ni-zan-shan-shui-zhou-wang-hui-235369","仿倪瓒山水轴",[24,25,202,114,30,60,118,994,117,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1642df578d1930c54ea3752bace297.jpg",[],{"id":19777,"slug":19778,"title":19779,"dynasty":223,"author":434,"museum":459,"description":19780,"tags":19781,"thumbUrl":19782,"material":179,"size":179,"collection":179,"collections":19783,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},235335,"wang-jian-fang-gu-shan-shui-ce-yi-ming-235335","王鉴仿古山水册","此作绘冬日山林雪景，层峰叠峙，积雪覆于嶙峋山石与枯木之上，以留白晕染出清寒空濛之意。山坳飞瀑垂落，崖畔古寺幽藏，萧寒之中暗蕴灵动生机。\n笔墨苍秀沉厚，以干笔皴擦勾勒山石肌理，淡墨晕铺雪色，布景繁密却通透空灵。将宋元山水古雅意韵融于尺幅，简淡清旷间尽显林泉萧疏淡远之致，可观可游，静中生趣，尽显仿古山水的雅致格调。",[24,25,385,28,30,243,7,62,120,153,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11341c2949a21315b30cb3cbf08de4c6.jpg",[],{"id":19785,"slug":19786,"title":19787,"dynasty":54,"author":434,"museum":459,"description":19788,"tags":19789,"thumbUrl":19790,"material":179,"size":179,"collection":179,"collections":19791,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":49},234495,"song-yuan-ming-hua-ce-ming-ren-shan-shui-lou-ge-ye-yi-ming-234495","宋元明画册-明人山水楼阁页","画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和、色调明快。",[24,28,59,30,62,7,117,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c7c138c7ec5fbae641dc96dc938520.jpg",[],{"id":19793,"slug":19794,"title":13771,"dynasty":54,"author":17254,"museum":20,"description":19795,"tags":19796,"thumbUrl":19797,"material":1218,"size":179,"collection":179,"collections":19798,"showCount":19652,"zanCount":928,"manualWeight":48,"mainColor":128},234244,"shan-shui-juan-zhang-fu-234244","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。",[23,24,26,25,114,28,118,30,115,63,64,62,7,117,788,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d3a363c537e6fd65da59b61258ccaf.jpg",[],{"id":19800,"slug":19801,"title":19802,"dynasty":54,"author":19803,"museum":459,"description":19804,"tags":19805,"thumbUrl":19806,"material":177,"size":179,"collection":179,"collections":19807,"showCount":19652,"zanCount":928,"manualWeight":48,"mainColor":49},234164,"nan-ping-yan-yu-tu-juan-zhou-han-234164","南屏烟雨图卷","周翰","[明]工山水。北京故宫绘画馆有嘉靖三十四年（一五五五）所画南屏烟雨图卷，绢本，似王巩而秀润，云烟烘染尤妙。《榆园画志》",[23,152,24,25,26,28,118,30,62,63,64,115,116,156,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6585ae0baa2edac4fe97f120f7e3f49d.jpg",[],{"id":19809,"slug":19810,"title":19811,"dynasty":223,"author":13460,"museum":20,"description":19812,"tags":19813,"thumbUrl":19815,"material":19816,"size":19817,"collection":179,"collections":19818,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},233955,"jiang-shen-cao-ge-tu-zhou-fu-shan-233955","江深草阁图轴","此幅写杜甫《严公仲夏枉驾草堂，兼携酒馔，得寒字》“百年地辟柴门迥，五月江深草阁寒”诗意，绘隐于山坳茂树之间的临江草阁，幽深旷远，空无一人。江水深澈，危崖峭立，板桥蜿蜒，构图疏中有密，平中寓奇，深得阴寒之意。\n傅山以书法闻名，绘画作品不多，此幅笔墨纵而能敛，率意而不失厚重，疏散中独蕴朴拙，正是其“宁拙毋巧，宁丑毋媚，宁支离毋轻滑，宁真率毋安排”艺术主张的代表作品。",[24,202,114,30,118,62,63,64,7,117,19814,4677],"草阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63a54259cde5bc9861d2994f888586a6.jpg","绫本墨笔","纵176.7厘米，横49.5厘米",[],{"id":19820,"slug":19821,"title":19822,"dynasty":223,"author":1533,"museum":20,"description":19823,"tags":19824,"thumbUrl":19826,"material":1218,"size":19827,"collection":179,"collections":19828,"showCount":19652,"zanCount":928,"manualWeight":48,"mainColor":128},233826,"fang-shu-ming-zhang-song-xian-guan-tu-zhou-wang-jian-233826","仿叔明长松仙馆图轴","画面下方近水的岩石与长松交错，松涛阵阵似可听闻，幽径蜿蜒于松林之中通向山中馆舍，山馆四周碧树环绕，其后丘壑万千，青峰壁立，苍郁秀润，另有茅屋布于山腰处。整幅图画描绘出郁郁葱葱的青山峻岭，清幽静谧的山居茅舍，传达了绝意仕途的士大夫情系山水之间悠然自得的意趣，此图实为作者托物言志之作。\n王鉴的作品有三种面目，即水墨、青绿设色、浅绛设色。浅绛山水创自五代董源，成于黄公望，元末王蒙又略加变化，在水墨的基础上以赭石勾填于局部，风神独具。王鉴此作正是师法王蒙，在树干、屋宇、山石、坡脚等处微染赭石，使画面的层次丰富，也增添了灵秀的韵味。题款中言“仿叔明”，画幅上不只在设色方面模仿王蒙，从构图、山石皴法中亦能看到王蒙的影响。如图中采用王氏惯用的重山复岭的构图形式，气势浑厚雄奇。再如山石多施王氏擅长的解索皴，把山石的质感刻划得细致入微。同时，画面也表现了王鉴的个人风貌，他那恬淡平缓的风格，雅致松秀的气韵，使观者静意自生。\n此图是王鉴晚年浅绛山水画的一幅精妙作品。",[24,202,114,118,30,540,117,7,64,19825],"馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4f7b2e3736315f79037ba03c6678939.jpg","纵138.2厘米，横54.5厘米",[],{"id":19830,"slug":19831,"title":2088,"dynasty":223,"author":381,"museum":20,"description":5685,"tags":19832,"thumbUrl":19833,"material":14848,"size":14849,"collection":179,"collections":19834,"showCount":19652,"zanCount":928,"manualWeight":48,"mainColor":128},233424,"yuan-ji-shan-shui-ce-shi-tao-233424",[152,24,25,385,114,118,153,30,341,37,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b281a289ed6ab616f64e10b152cd89.jpg",[],{"id":19836,"slug":19837,"title":19838,"dynasty":223,"author":1533,"museum":459,"description":19839,"tags":19840,"thumbUrl":19841,"material":179,"size":179,"collection":179,"collections":19842,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},230194,"yun-he-song-yin-tu-wang-jian-230194","云壑松阴图","清王鉴云壑松荫图轴是清代时期的文物，现收藏于上海博物馆。\n王鉴（1598-1677），字元照，号湘碧、染香庵主，有“王廉州”之称，太仓（今江苏）人。\n山水以元四家为宗，用墨浓润，风格沉雄，“清初六家”之一。\n此图作于康熙乙卯(1675)，时年七十八岁。\n布局转折多姿，笔法细密灵活，画面显得滋润、整洁而明净。",[23,24,25,202,114,30,118,540,64,244,7,881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7dcd1f06106fa7ea0da3e5cfff9089.jpg",[],{"id":19844,"slug":19845,"title":19846,"dynasty":54,"author":2636,"museum":459,"description":19847,"tags":19848,"thumbUrl":19849,"material":808,"size":809,"collection":179,"collections":19850,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},228879,"duan-he-ming-qin-tu-wen-zheng-ming-228879","断壑鸣琴图","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,202,28,30,118,29,204,117,7,206,477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4602ec7c95628152453ccd92f14e664.jpg",[],{"id":19852,"slug":19853,"title":7235,"dynasty":54,"author":110,"museum":459,"description":19854,"tags":19855,"thumbUrl":19856,"material":179,"size":179,"collection":179,"collections":19857,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},228826,"liang-jiang-ming-sheng-tu-ce-shen-zhou-228826","此作用笔兼工带写，右侧苍松掩映下的官式院落界画工细严整，层叠峰峦以披麻皴晕染，墨色苍润厚重，山间云霞淡晕铺陈，烘托出空蒙出尘的仙气，将林泉雅致与山峦雄浑相融。\n\n左侧题跋行书舒展苍劲，诗画合璧，以文衬景。整体将实景胜迹的肃穆雅致，与文人写意的空灵悠远结合，兼具院体画的工致细腻与文人画的简逸意趣，铺陈出江南丘林的沉静大气，寄寓文人林泉高致的审美意趣，尽显山水胜景的意境之美。",[24,25,385,28,30,59,62,7,117,69,70,37,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9e80b34b0e5224393097d95fc097fe6.jpg",[],{"id":19859,"slug":19860,"title":19861,"dynasty":54,"author":5967,"museum":459,"description":19862,"tags":19863,"thumbUrl":19864,"material":179,"size":179,"collection":179,"collections":19865,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":49},228748,"e-mei-xue-tu-xie-shi-chen-228748","峨嵋雪图","此作笔墨兼具工致与写意，以留白淡晕铺就雪色，尽显峨眉雪岭的荒寒厚重。层叠峰峦覆着蓬松积雪，墨笔勾勒出山岩棱线，衬出雪景清寂辽远。山寺错落隐于雪岭寒林，古木虬枝仍带冬意生机。下方溪桥之上，驮队徐行，为冷绝天地晕开一抹人间暖意。\n\n整幅画将蜀地冬山的磅礴大气与羁旅意境相融，既有山川壮伟之态，又藏细腻生活意趣，绘就雪后峨眉空蒙萧寒的独特意境，是明代雪景山水的精妙之作。",[23,24,25,202,30,28,118,1080,540,62,63,64,426,61,90,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28ce0b8585d7df837cf6392eac40f.jpg",[],{"id":19867,"slug":19868,"title":19869,"dynasty":54,"author":1341,"museum":459,"description":19870,"tags":19871,"thumbUrl":19874,"material":808,"size":809,"collection":179,"collections":19875,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},228492,"gu-xian-shi-yi-tu-juan-du-jin-228492","古贤诗意图卷","全卷共分九段，分别为：右军笼鹅、桃源图、把酒问月、听颖师弹琴、茶歌、饮中八仙、东山宴饮、咏水仙、舟中夜雪。\n金琮书法偏向于厚重一路，倾向沉稳的风格，因其书法很似赵书，故很多金琮的字，即使不是有意作伪，也被后人挖去原款，添上“赵孟頫”三字，以欺世人。\n杜堇所画之人物采用白描法，笔法细劲透逸，形象生动有神。树石、藤草、桌椅、车、马、小舟等点景穿插有致。墨色淡雅，但淡而不薄，雅而不空。构图简洁，意境清幽，皆得诗意要旨。",[23,24,25,26,437,114,29,119,120,61,30,7,289,2316,153,4272,688,19872,19873],"桌子","花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4687c58a07d69739de4b9a24d53eb4e.jpg",[],{"id":19877,"slug":19878,"title":17872,"dynasty":133,"author":434,"museum":459,"description":19879,"tags":19880,"thumbUrl":19881,"material":179,"size":179,"collection":179,"collections":19882,"showCount":19652,"zanCount":11,"manualWeight":48,"mainColor":49},228205,"gong-nv-tu-yi-ming-228205","此作以界画工法描摹层叠宫苑，青绿晕染的山水烘托出楼宇朱栏的明丽雅致。数百宫女素衣翩跹，错落游走在亭台廊榭间：凭栏者凝眸远山，执役者缓步穿廊，低语嬉游者顾盼生姿，将深宫日常的幽闲意绪细腻铺陈。古雅沉润的色调晕开，把皇家苑囿的恢宏与深院女子的柔婉相融，工细的线条勾勒出楼阁规制的严整，也晕染出宫女情态的灵动，让森严深宫晕开缕缕烟火暖意，尽显传统工笔与界画结合的精妙意韵。",[23,24,25,202,28,29,59,61,62,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3d48c6d9c6ff91ec23b7c25f039eeb.jpg",[],{"id":19884,"slug":19885,"title":19886,"dynasty":18,"author":3618,"museum":459,"description":19887,"tags":19888,"thumbUrl":19889,"material":179,"size":179,"collection":179,"collections":19890,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":49},227986,"yin-yan-fei-pu-tu-jiang-can-227986","阴岩飞瀑图","危崖斜出，古木盘虬扎根崖壁，数道飞瀑破壁而出，訇然落向下方深潭。山石以粗劲短皴勾勒轮廓，苍莽厚重，尽显崖石坚硬荒寒；飞瀑以留白衬墨色，线条劲挺利落，将水流奔涌之势藏在简淡笔墨里。\n\n整幅画作以水墨浓淡铺展山野幽寂，无多余点染，却将空谷间瀑流轰鸣、林壑沉静的氛围感拉满，带着独有的萧散冷逸，于尺幅间尽显磅礴大气，暗合寄情林泉、澄怀观道的文人意趣。",[23,152,24,25,202,114,118,30,204,2113,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35d866f71b6edd059218c0e1ba2858e.jpg",[],{"id":19892,"slug":19893,"title":19894,"dynasty":18,"author":434,"museum":459,"description":19895,"tags":19896,"thumbUrl":19897,"material":179,"size":179,"collection":179,"collections":19898,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":49},227833,"lin-liu-fu-qin-tu-yi-ming-227833","临流抚琴图","画面以边角取势，古松虬曲苍劲，垂藤萦绕，将崖岸的荒古野逸晕开。临流石上，隐士安然抚琴，襟怀自适。远处汀渚隐现于烟岚薄雾之间，水色空蒙，淡墨轻皴尽绘江天寥廓。\n笔墨简淡却意韵悠长，以苍劲勾勒写松之老态，晕染铺就江天虚静，将林下幽居、寄情山水的文人意趣藏于尺幅间，尽显尚简求雅的禅寂风骨，静穆之中，似有琴音随波远逝，恍若带人走入物我两忘的幽远之境。",[23,24,114,118,2895,30,61,64,7,289,806,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F525e8494d45cb369b9a329292fc78b89.jpg",[],{"id":19900,"slug":19901,"title":19902,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":19903,"thumbUrl":19904,"material":808,"size":809,"collection":3244,"collections":19905,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":985},226078,"the-iris-garden-at-giverny-1899-1900-v2-mo-nai-226078","The Iris Garden at Giverny, 1899-1900 v2",[152,3239,7526,13902,8252,7,502,591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f28a7a695ede07ea5e502d7e171a373.jpg",[3244],{"id":19907,"slug":19908,"title":19909,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":19910,"thumbUrl":19912,"material":808,"size":809,"collection":3244,"collections":19913,"showCount":19652,"zanCount":928,"manualWeight":48,"mainColor":49},225988,"morning-on-the-seine-near-giverny-1896-mo-nai-225988","Morning on the Seine, near Giverny, 1896",[7526,3239,32,1290,9085,7,19911,209,7419,9938,1191],"清晨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf10c6a211be582dcffa8baf67b153f2.jpg",[3244],{"id":19915,"slug":19916,"title":19917,"dynasty":223,"author":2792,"museum":459,"description":19918,"tags":19919,"thumbUrl":19920,"material":179,"size":179,"collection":179,"collections":19921,"showCount":19652,"zanCount":928,"manualWeight":48,"mainColor":49},224447,"fang-huang-he-shan-ren-shan-shui-wang-hui-224447","仿黄鹤山人山水","此作用全景铺展秋山胜境，取法黄鹤山人苍浑繁密之致。峰崖高拔，以解索皴写山石肌理，苔点错落，尽显岩壑古拙苍劲。山间云气轻笼，虚实相生，拉开层叠景深。\n下半幅转绘幽居水乡，屋舍错落滨水，渔人泛棹、庭内闲寂，将林泉隐逸的悠然意趣融于山水间。\n笔墨干湿互济，浓淡相宜，既恪守元人笔墨的苍茫厚重，又暗合江南山水温润灵秀之态，师古而不泥古，尽显秋山静穆雅致的林泉高致。",[23,24,25,475,202,118,114,28,30,540,117,204,35,502,7,1313,206,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8123656d7dfc46d899cd09ac6309fce.jpg",[],{"id":19923,"slug":19924,"title":19925,"dynasty":223,"author":647,"museum":459,"description":19926,"tags":19927,"thumbUrl":19928,"material":179,"size":179,"collection":179,"collections":19929,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},224387,"fang-huang-zi-jiu-she-se-shan-shui-wang-yuan-qi-224387","仿黄子久设色山水","《王原祁仿黄子久设色山水轴》，清代山水画，现藏于辽宁省博物馆。\n绢本，设色。\n画心纵122.71，横52.8厘米。\n山峦俊秀，双峰突起，白云迷漫的远山，似起伏的海浪。\n山上山下屋宇排列整齐有绪，泉水沿岩石款款而下，汇成山角下半湖碧水。\n水天相处缀以小汀洲渚，板桥旁又有水榭数楹。\n山石繁密，草木葱茏，山下的几株大树掩映溪水，构成了山山相连的效果。\n高崖峻壑，采用纵线的披麻皴，平林打上横卧点子叶，这种纵横交错的用笔，形成一种强烈的节奏感；重施石青、石绿，色艳明快，山峦显得像碧玉一样温润，给人以清新洁爽之感。\n右上角自识：“康熙癸末(17)春日仿黄子久似恺翁老先生麓台，娄东王原祁。\n”旁钤“王原祁印”、“麓台”二印。",[23,24,25,202,28,30,243,7,35,63,64,37,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a9513c5762e39dce7925cea01d4a8.jpg",[],{"id":19931,"slug":19932,"title":19933,"dynasty":223,"author":5291,"museum":459,"description":19934,"tags":19935,"thumbUrl":19941,"material":179,"size":179,"collection":179,"collections":19942,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":1138},224357,"xiu-zhu-you-ju-tu-yu-zhi-ding-224357","修竹幽居图","《修竹幽居图》是清代禹之鼎创作的设色纸本画。\n本幅右上题“高宗修竹幽居图”，左上款署：“己卯长夏敬绘，十二家恭颂师保相国王老大人千秋，后学禹之鼎。\n”钤“禹之鼎”、“慎斋”印二方。\n己卯为清康熙三十八年（1699年），禹之鼎时年5岁。\n画面上水天空旷，岸边修竹成林，桃花掩映，奇石兀立。\n围栏中建一亭轩，主人慵懒地斜倚在亭内竹椅之上，桌面置一茶壶，身后小童侍立。\n此图房屋、栏杆用笔工细；山石、树木先以墨勾勒轮廓，再用石青、石绿染出；以红色点叶，赭黄色染屋顶；竹子用竖笔绘干，细笔写叶。\n画面布局疏密有致，用笔以写意为主，兼用工笔，轻灵洒脱而又严整，设色清雅鲜丽，意境悠远闲淡，意趣横生。\n禹之鼎（1647——？），字上吉，一字尚基，一作尚稽，号慎斋，江苏江都（今扬州）人。\n其擅长写真，特别是其白描手法，秀媚古雅，当时推为第一，一时名人小像多出其手。",[23,24,152,8673,29,228,28,27,114,30,1067,154,19936,116,173,117,7,61,19937,19938,19939,19940],"奇石","茶壶","闲淡悠远","清雅鲜丽","疏密有致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7477ce1642bae1fe2529bec82050053.jpg",[],{"id":19944,"slug":19945,"title":19946,"dynasty":223,"author":858,"museum":514,"description":859,"tags":19947,"thumbUrl":19948,"material":140,"size":869,"collection":179,"collections":19949,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":49},223030,"hong-lou-meng-155-sun-wen-223030","红楼梦155",[23,29,28,59,61,62,30,1067,7,70,173,16925,592,1344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff333b78bc458b864fa110eb261e62863.jpg",[],{"id":19951,"slug":19952,"title":16887,"dynasty":223,"author":13246,"museum":167,"description":13247,"tags":19953,"thumbUrl":19954,"material":179,"size":19955,"collection":124,"collections":19956,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},222850,"hua-shan-shui-zhou-ai-xin-jue-luo-yong-rong-222850",[23,24,25,202,114,28,118,30,64,7,116,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8920c3dc2166da7d6d9ab54681a80f5.jpg","12.2x13.9 公分",[124,45],{"id":19958,"slug":19959,"title":19960,"dynasty":223,"author":1431,"museum":459,"description":19961,"tags":19962,"thumbUrl":19963,"material":936,"size":19964,"collection":124,"collections":19965,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},222621,"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,152,24,25,26,9387,118,114,30,7,117,37,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg","纵28.8厘米，横404.1厘米",[124,103,1822],{"id":19967,"slug":19968,"title":7344,"dynasty":18,"author":1816,"museum":658,"description":19969,"tags":19970,"thumbUrl":19971,"material":140,"size":19972,"collection":179,"collections":19973,"showCount":19652,"zanCount":928,"manualWeight":48,"mainColor":49},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[23,24,152,26,437,114,25,153,30,61,116,7,117,62,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":19975,"slug":19976,"title":19977,"dynasty":54,"author":955,"museum":2458,"description":19978,"tags":19979,"thumbUrl":19980,"material":385,"size":2462,"collection":179,"collections":19981,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":179},220747,"fang-ge-jia-shan-shui-9-dong-qi-chang-220747","仿各家山水-9","此作用笔松秀空灵，以枯木发端，老干虬曲苍劲，寒枝错落疏朗，自带冬日萧疏清寂之意。远景山峦以淡墨轻勾慢皴，棱角清奇又不失浑融，层层迤逦铺展，淡远空濛。水泽汀渚间错落点染渔隐闲趣，右侧村居隐于林麓之下，简淡出尘。\n\n整幅以干笔淡墨写就，脱尽繁冗，以极简笔墨铺展出萧散淡远的林下幽居之境，尽显文人画疏淡空灵的意趣，藏着闲远出尘的林下襟怀。",[23,24,114,30,60,118,153,579,289,243,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46161f34da1a23ec4d68b7c20dfc253b.jpg",[],{"id":19983,"slug":19984,"title":609,"dynasty":1743,"author":19985,"museum":17068,"description":19986,"tags":19987,"thumbUrl":19988,"material":179,"size":179,"collection":179,"collections":19989,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},220510,"wan-he-song-feng-tu-huang-jun-bi-220510","黄君璧","层叠峰岩以赭红晕染崖顶，苍劲古松扎根嶙峋山石间，挺秀卓立尽显风神。两道飞瀑自云端峭壁垂落，撞碎成白练跌汇入溪涧，流水穿绕矶石，带着鲜活生机破山而出。山间云气轻笼远峰，虚实掩映间晕开空濛烟岚，将雄浑山势揉进柔婉留白中。\n\n笔墨兼具北派山水的刚健苍劲与岭南画韵的秀润清灵，斧劈皴刻画出山石硬朗肌理，松针攒簇尽显苍郁意态，以动静相生的章法，将松涛与泉鸣交融的山林幽寂盛境铺展眼前，藏着天人共生的东方山水意趣。",[23,24,25,202,28,118,30,540,204,244,37,206,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb4ec9913ffc4e9d465df3a7b1c47b3.jpg",[],{"id":19991,"slug":19992,"title":8242,"dynasty":1743,"author":19993,"museum":19994,"description":19995,"tags":19996,"thumbUrl":19997,"material":179,"size":179,"collection":179,"collections":19998,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},220484,"feng-jing-lin-feng-mian-220484","林风眠","中国美术学院美术馆","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[24,28,114,30,243,7,37,1390,411,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dba5fd9b465d1b9e96fe17dfd4d4d0f.jpg",[],{"id":20000,"slug":20001,"title":20002,"dynasty":223,"author":3937,"museum":20,"description":15703,"tags":20003,"thumbUrl":20004,"material":360,"size":15706,"collection":179,"collections":20005,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},220300,"huang-shan-tu-ce-26-hong-ren-220300","黄山图册-26",[23,24,25,385,114,30,117,7,64,204,1704,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33296ed6c8f1aa652e3297eebc981cad.jpg",[],{"id":20007,"slug":20008,"title":20009,"dynasty":54,"author":20010,"museum":1202,"description":20011,"tags":20012,"thumbUrl":20013,"material":360,"size":179,"collection":124,"collections":20014,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},220149,"qiu-shan-qing-xing-tu-chen-huan-220149","秋山清兴图","陈焕","陈焕是明代吴门画派画家，他是苏州人，生活在明代中后期。陈焕的传世作品不多，画史中关于他的记载仅有三两句，其中最关键的一句说他私淑侯懋功。私淑是文化人的说法，指不能拜入师门但心存向往，一心临习。侯懋功是文徵明一脉的后辈弟子，画风雅致，在江南一带名气很大。从私淑二字就可以看出来，陈焕的学画之路并不顺畅，不过再多的坎坷也阻挡不住他对艺术的向往。",[23,24,114,202,30,117,7,540,63,116,118,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45500562d0218a2947f633f2ac87f1e3.jpg",[124],{"id":20016,"slug":20017,"title":20018,"dynasty":223,"author":434,"museum":266,"description":20019,"tags":20020,"thumbUrl":20022,"material":303,"size":20023,"collection":124,"collections":20024,"showCount":19652,"zanCount":48,"manualWeight":48,"mainColor":128},219980,"luan-shan-za-wu-tu-yi-ming-219980","乱山杂雾图","以水墨晕染层叠峰峦，远山隐在淡墨烟岚间，朦胧空灵似被晨雾轻裹。近崖怪石虬松错落，山坳殿宇半藏，清溪蜿蜒漱石有声，水畔幽人凭石观流。\n\n笔墨干湿互用，勾勒皴擦兼具，写意间不失精微，将朝雾初散的林泉清寂铺陈开来。呼应题画诗意，空山晓境里，仿佛能听见啄木轻响混着梵音溪声，禅意漫溢，尽揽山林静穆之美。",[23,24,114,30,202,118,120,153,31,37,62,7,244,20021,61,10545],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560f7ee714f936fe6b5bf9c7c3125307.jpg","107.9 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此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[24,202,114,475,118,117,7,12408,64,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54b69f05927997c87308aaa1a3a0b15f.jpg",[],{"id":20109,"slug":20110,"title":1178,"dynasty":54,"author":4888,"museum":459,"description":20111,"tags":20112,"thumbUrl":20113,"material":808,"size":809,"collection":179,"collections":20114,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},290551,"shan-shui-zhou-xu-ben-290551","徐贲（1335-1380年），字幼文，南直隶毗陵（今江苏常州市）人。后迁平江（今江苏苏州）城北，自号北郭生，元末明初画家、诗人。吴中四杰之一，明初十才子之一。\n张士诚抗元，招为僚属。张士诚死后，俆贲与张羽避居吴兴（今浙江省湖州市）。洪武七年（1374），被荐入朝，洪武九年（1376）春，奉使晋、冀，授给事中。历任御史、刑部主事、广西参议，官至河南左布政使。洪武十一年（1378），大军征讨洮岷，以军队过境，犒劳失时，下狱。洪武十三年（1380），以“犒师不周”处死。",[24,114,30,202,153,118,62,63,64,115,7,117,116,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc1786958bb41a964d7d69070c1211b.jpg",[],{"id":20116,"slug":20117,"title":20118,"dynasty":223,"author":472,"museum":459,"description":12645,"tags":20119,"thumbUrl":20121,"material":808,"size":809,"collection":179,"collections":20122,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},290426,"shan-shui-shi-er-ce-yi-pin-wang-shi-min-290426","山水十二册逸品",[24,152,385,30,114,28,118,243,7,71,20120],"隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497049b2eefde5bef866470ad8582216.jpg",[],{"id":20124,"slug":20125,"title":20126,"dynasty":133,"author":355,"museum":167,"description":1960,"tags":20127,"thumbUrl":20128,"material":303,"size":12656,"collection":179,"collections":20129,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},290417,"hua-xi-yu-yin-zhou-wang-meng-290417","花溪渔隐轴",[152,24,202,114,30,118,64,115,7,117,35,639,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a0acb529b0bc5c0c94798e81326b50.jpg",[],{"id":20131,"slug":20132,"title":3186,"dynasty":18,"author":434,"museum":459,"description":20133,"tags":20134,"thumbUrl":20135,"material":808,"size":809,"collection":179,"collections":20136,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},290229,"feng-yu-gui-zhou-tu-yi-ming-290229","该画描绘近处巨岗高树，中部为广漠的江河，并置沙渚、坡岸、板桥、行舟、人物等，远处山峦耸峙，景色具有江南水乡山崇水阔的特点。",[24,475,115,462,3189,243,64,7,114,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f808637e953e29f61f9cc677ffd081.jpg",[],{"id":20138,"slug":20139,"title":20140,"dynasty":18,"author":7921,"museum":459,"description":20141,"tags":20142,"thumbUrl":20143,"material":808,"size":809,"collection":179,"collections":20144,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},289588,"yan-jiang-yu-yu-tu-pu-an-289588","烟江欲雨图","全图用笔简放雄劲，具有水墨多彩，淋漓尽致的效果。树干树枝随手点画，人物、小舟更信手勾画，画法生动活泼。是南宋马夏一派的佳作。",[24,114,475,6897,4879,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60dc6f53335e9ffa22bf95943de7b1f.jpg",[],{"id":20146,"slug":20147,"title":20148,"dynasty":223,"author":4524,"museum":459,"description":17886,"tags":20149,"thumbUrl":20150,"material":808,"size":809,"collection":179,"collections":20151,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},288281,"yu-sheng-bai-yun-si-tu-qian-wei-cheng-288281","豫省白云寺图",[24,152,25,202,923,475,118,28,117,7,62,10545,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe106705075e5729ca78f6e63548247e6.jpg",[],{"id":20153,"slug":20154,"title":16238,"dynasty":18,"author":239,"museum":167,"description":20155,"tags":20156,"thumbUrl":20157,"material":808,"size":809,"collection":179,"collections":20158,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":985},288271,"feng-nian-rui-xue-tu-guo-xi-288271","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[24,202,30,114,118,818,117,7,116,63,115,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed85e399afa0ec95a0db923ec9ae547.jpg",[],{"id":20160,"slug":20161,"title":20162,"dynasty":18,"author":6327,"museum":459,"description":17049,"tags":20163,"thumbUrl":20164,"material":808,"size":809,"collection":179,"collections":20165,"showCount":144,"zanCount":928,"manualWeight":48,"mainColor":985},287738,"hong-shu-qiu-shan-tu-xiao-zhao-287738","红树秋山图",[23,152,24,30,202,28,118,63,64,62,117,7,204,1081,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad91b75dccb4b91ad72e5c123b39c43f.jpg",[],{"id":20167,"slug":20168,"title":20169,"dynasty":18,"author":434,"museum":459,"description":20170,"tags":20171,"thumbUrl":20172,"material":808,"size":20173,"collection":179,"collections":20174,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},287554,"qiu-shan-wen-hui-tu-yi-ming-287554","秋山文会图","此作以全景山水铺陈，高远与深远兼具，层峦叠嶂以青绿晕染，古雅苍朴。山峦以披麻皴细致勾勒，苔点攒簇，尽显秋山蓊郁厚重的质感。林麓间隐见亭台雅集，文士幽会于泉石山林间，将山居幽趣与文人情致相融。\n\n虽岁久色褪，仍可见精工雅致的风骨，以秋山沉厚底色衬出文会清逸，将林泉高致寄于层叠山岚之中，尽显天人合一的文人画意趣。",[24,152,25,202,27,28,118,30,61,62,116,7,117,2869,17188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60265df5aad0964cb0673dcbec174592.jpg","95x24.8",[],{"id":20176,"slug":20177,"title":20178,"dynast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七子过关图》，均辑入《中国历代名画集》。",[24,26,28,29,923,61,7,806,153,736,20188,591],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb242f76bc753a276143e3750ffe2503f.jpg",[],{"id":20192,"slug":20193,"title":20194,"dynasty":223,"author":2985,"museum":459,"description":20195,"tags":20196,"thumbUrl":20197,"material":179,"size":179,"collection":44,"collections":20198,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},238736,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238736","画弘历拟古诗意图册","此作用淡墨绘就平远行旅之景，构图舒展清和。近岸浅渚错落，林木萧疏有致，行旅车马徐行于道，人物、车驾细节写实生动，带着悠然松弛的赶路意态。远景林峦澹澹，以简淡笔墨晕染出清寂开阔的郊野氛围。右侧题诗与画面呼应，将羁旅闲思融于山水间。\n\n全作笔墨秀润温婉，以极简皴染勾勒山水意态，无浓墨重彩，却将郊野清旷的氛围感烘托尽致，将日常行旅的寻常景致，化为充满文人雅韵的诗意图景，尽显平和萧散的文人意趣。",[24,25,385,114,28,118,30,61,90,7,63,32,8068,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9d62aa6c6de0d85df8a51bd8f7313e.jpg",[44,103],{"id":20200,"slug":20201,"title":20202,"dynasty":54,"author":20203,"museum":459,"description":20204,"tags":20205,"thumbUrl":20206,"material":808,"size":809,"collection":179,"collections":20207,"showCount":144,"zanCount":928,"manualWeight":48,"mainColor":128},237856,"shi-nv-fen-xiang-shan-wang-sheng-237856","仕女焚香扇","王声","扇面之上，枯木虬枝横斜，奇石衬出幽境。两位仕女仪态柔静，一立一坐，执香侍立者素衣亭亭，坐观幽思者敛神沉静，将深闺焚香寄怀的闲情铺展开来。\n\n衣纹线条清劲婉转，寥寥数笔便勾勒出女子柔婉之态。布景写意疏朗，老树皴染苍朴，淡墨浅晕间晕染出空寂雅致的氛围。整体意韵清和古雅，把闺中女子幽微的情思藏于咫尺尺幅，淡简笔墨尽显尚雅的意趣，以小景见深致，尽显仕女小品的隽雅之美。",[24,25,2895,29,28,61,170,117,7,5825,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81ef760b91d12544883a492e7b7cb53.jpg",[],{"id":20209,"slug":20210,"title":20211,"dynasty":54,"author":20212,"museum":167,"description":20213,"tags":20214,"thumbUrl":20215,"material":179,"size":179,"collection":124,"collections":20216,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},237460,"qiu-shan-xian-tiao-tu-zhou-qian-gu-237460","秋山闲眺图轴","钱毂","钱榖〔清〕字子璧，号内史，晚号东海逸民，华亭（今上海市松江）诸生。诗、画俱工绝。清朝以来，松江以书名者，则有钱谷、曹思邈、沈楫。钱、曹皆名宿，而结构精劲当推钱第一。晚年名益重，求书者户尝满。《三冈识略》、《江苏诗徵》、《画家知希录》",[24,202,28,30,2869,7,204,61,117,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904104c77a5562b5226fd2d200081be0.jpg",[124],{"id":20218,"slug":20219,"title":3901,"dynasty":223,"author":4544,"museum":20,"description":4545,"tags":20220,"thumbUrl":20222,"material":1218,"size":179,"collection":179,"collections":20223,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},237196,"shan-shui-ce-sun-yi-237196",[24,28,27,30,385,118,63,64,7,117,35,243,9398,20221,2421],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c563356a453abf55ae34af8444b9d61.jpg",[],{"id":20225,"slug":20226,"title":3119,"dynasty":223,"author":20227,"museum":20,"description":20228,"tags":20229,"thumbUrl":20231,"material":1218,"size":179,"collection":124,"collections":20232,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},236819,"fang-gu-shan-shui-ce-zhao-cheng-236819","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[24,25,385,28,30,958,7,35,500,61,502,1081,20230,117],"绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ebc5ce7d4cd925819659780280bf13.jpg",[124,45],{"id":20234,"slug":20235,"title":3724,"dynasty":223,"author":381,"museum":459,"description":20236,"tags":20237,"thumbUrl":20238,"material":179,"size":179,"collection":179,"collections":20239,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},235881,"yuan-ji-shan-shui-tu-ce-shi-tao-235881","近景茅舍隐于茂林，古木虬枝横斜，生机暗涌，远处危岩拔地而起，皴笔朴拙苍劲，苔点错落灵动，淡赭铺陈晕开清和秋意。笔墨纵逸秀润，看似率意挥写，实则骨力内蕴，将实景奇崛与胸中丘壑相融。\n\n搭配上行书题跋，笔墨舒展跌宕，书画相映成趣，尽显文人雅韵。整幅小品以简淡构图承载蓬勃生机，借山川形貌抒发襟怀，将搜尽奇峰的体悟凝于尺幅之间，萧散清寂中藏着通透灵秀，尽显清寂淡远的文人山水意境，是借笔写心的精妙之作。",[24,25,385,114,28,30,289,7,1705,153,119,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da1cb3425542def690c3e5f73f06ab4.jpg",[],{"id":20241,"slug":20242,"title":20243,"dynasty":223,"author":10720,"museum":459,"description":20244,"tags":20245,"thumbUrl":20246,"material":179,"size":179,"collection":179,"collections":20247,"showCount":144,"zanCount":928,"manualWeight":48,"mainColor":49},235832,"qiu-shan-cao-tang-tu-zhou-wu-hong-235832","秋山草堂图轴","此作用淡墨皴擦写层叠秋山，崖峦渐远晕出空濛秋韵。近畔枯木虬曲苍劲，苍松卓然挺立于茅舍之侧，篱径萦回板桥通幽，溪岸渔舟横斜，静穆山居秋景宛然眼前。枯笔短皴勾勒山石质感，淡赭轻敷晕染秋意，简淡笔墨见出苍浑朴拙。右上角题诗衬景，诗画相融，将秋日山野萧疏安闲的意趣尽显，暗合文人幽居丘壑、寄情林泉的雅逸襟怀。",[24,25,202,114,28,118,30,7,994,540,63,64,117,69,2112,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7717b800d6cee60d4bf59a3f525be6ec.jpg",[],{"id":20249,"slug":20250,"title":20251,"dynasty":54,"author":11317,"museum":459,"description":20252,"tags":20253,"thumbUrl":20254,"material":808,"size":809,"collection":179,"collections":20255,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},235740,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-235740","雪岳读书图轴","萧云从(1596～1673) 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厘米",[],{"id":20339,"slug":20340,"title":20341,"dynasty":54,"author":955,"museum":459,"description":20342,"tags":20343,"thumbUrl":20344,"material":179,"size":179,"collection":179,"collections":20345,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},230850,"gao-yi-tu-dong-qi-chang-230850","高逸图","此作用笔松秀灵动，以干笔枯墨绘就，兼施淡墨晕染。画面分远中近三境，远山以淡墨轻扫，虚灵空濛，似含烟霭；中平湖如镜，汀渚错落，漾出澹澹清寂；近景枯木虬曲苍古，姿态疏朗萧散，尽显荒寒雅逸之气。\n\n以书入画，笔墨间自带文人疏淡风骨，删繁就简，褪去实景冗杂，独留山水精神，将林下高贤寄情丘壑、坐忘林泉的隐逸意趣藏于尺幅之间，静穆清寂的氛围里，尽显文人画尚意重韵的极致品格。",[23,24,25,114,118,120,119,30,7,117,32,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209df79a27a9101f03f274d4311d3360.jpg",[],{"id":20347,"slug":20348,"title":20349,"dynasty":223,"author":434,"museum":459,"description":20350,"tags":20351,"thumbUrl":20352,"material":179,"size":179,"collection":179,"collections":20353,"showCount":144,"zanCount":11,"manualWeight":48,"mainColor":49},230326,"tai-ping-fan-hua-ba-tu-ping-yi-ming-230326","太平繁华八图屏","此作截取升平盛景的两段切面，上部郊山林木蓊郁，台阁错落，游人雅聚嬉游，尽显郊野行乐闲趣；下部市井商铺鳞次栉比，彩楼牌坊高耸，行人摩肩接踵，百业攒动喧嚷。全景构图铺陈开烟火日常，工细设色复刻俗世百态，将山野清趣与闾巷喧嚣相融，把盛世之下的黎民安乐描摹得鲜活生动，让太平年间的人间烟火跃然绢上，藏着最鲜活的世俗温情与蓬勃生机。",[23,24,28,29,59,61,62,7,117,67,65,70,90,760,69,275,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb583024cbd59bd0b85fd149695ea82d1.jpg",[],{"id":20355,"slug":20356,"title":13731,"dynasty":54,"author":11317,"museum":459,"description":20357,"tags":20358,"thumbUrl":20359,"material":179,"size":179,"collection":179,"collections":20360,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},228967,"shan-shui-ce-ye-xiao-yun-cong-228967","这幅山水取高远、平远二法构景，右侧危崖层叠耸峙，以细劲皴笔刻绘山石嶙峋肌理，古松倚崛崖而生，姿态苍劲奇逸。左侧江流逶迤，洲渚之上林木错落，村居隐于坡岸林麓，野意悠然自生。\n\n设色清浅柔和，以赭石晕染山峦，墨色点苔绘木，淡润雅致间尽显清和。整体意境萧疏旷远，兼具皖南山水的灵秀，又饱含文人隐逸丘壑的静穆意趣，笔致秀雅工丽，将山水自然之美与林下幽居的雅怀相融，观之便如身临幽寂林泉，心神涤荡。",[24,25,152,385,114,28,118,30,117,7,64,115,61,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fb76240c525618fdf974dbb6774f96.jpg",[],{"id":20362,"slug":20363,"title":20364,"dynasty":223,"author":4731,"museum":459,"description":20365,"tags":20366,"thumbUrl":20367,"material":179,"size":179,"collection":179,"collections":20368,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},228954,"zui-gui-tu-yuan-jiang-228954","醉归图","夜色笼着深宅朱廊，虬枝古木斜倚庭中。厅堂内宴饮方酣，宾客笑谈尽欢，堂下宫灯垂悬晕开暖光。庭间仆从垂首候立，另有三两醉客相互搀扶缓行，将宴散的松弛慵懒尽数流露。\n\n界画工细严整，将宅邸回廊台榭的规制尽显无余，人物情态鲜活灵动，把宴后醉归的闲散意趣描摹入微。晕染的暮色铺陈开静谧悠然的氛围，将古雅宅邸的雅致意境与宴饮余韵相融，尽显古典雅集的闲淡意趣。",[23,24,25,59,28,29,61,62,70,7,592,173,6549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1c994711a1a7b286672b0fe82a60326.jpg",[],{"id":20370,"slug":20371,"title":20372,"dynasty":54,"author":9719,"museum":459,"description":20373,"tags":20374,"thumbUrl":20375,"material":179,"size":179,"collection":179,"collections":20376,"showCount":144,"zanCount":928,"manualWeight":48,"mainColor":128},228741,"fang-mi-you-ren-yun-shan-tu-juan-chen-chun-228741","仿米友仁云山图卷","此作用米家云山之法，以淡墨晕染山峦，间以浓墨点醒林麓，水汽弥漫，烟岚浮动，将江南丘壑的空濛秀雅尽藏尺素。简率的笔墨勾勒汀洲林木，苍润松秀，不求刻绘精细，只以水墨氤氲传递出云气漫过山峦的朦胧诗意，尽显“墨戏”的萧散意趣。\n\n画面留白与晕染相映，在虚实之间铺展出悠远淡宕的山水意境，契合文人画尚意重韵的追求。后幅题识亦为画卷添就文雅格调，整卷以水墨写意尽显平淡天真的米家山水风神，是明代文人水墨山水的逸品。",[23,24,25,26,114,118,60,120,119,153,30,881,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec63ab7769bad38fa9c94164b033efd6.jpg",[],{"id":20378,"slug":20379,"title":20380,"dynasty":133,"author":434,"museum":167,"description":20381,"tags":20382,"thumbUrl":20383,"material":316,"size":20384,"collection":179,"collections":20385,"showCount":144,"zanCount":928,"manualWeight":48,"mainColor":49},228181,"shang-lin-yu-lie-tu-juan-yi-ming-228181","上林羽猎图卷","汉司马相如作上林赋，叙述天子狩猎於上林苑中。画者依赋文内容臆写情境，描绘层峦叠嶂、人物鸟兽、楼阁台观、旗辇军容等等，行笔设色皆细腻精妙,堪称佳作。 按此卷原签题元人，与院藏另两幅传为明代仇英所绘的上林图，构图、设色、用笔都近似，或出自同一稿本，疑皆为後人所摹。\n全画 分为七段，依次是：虚构人物子虚、乌有 、亡是公三人在屋中对话；在广阔的江水 游翔的水族与飞禽；天子的离宫别馆；天 子校阅游猎的队伍；天子骑马展开狩猎的 活动；在楼台举行歌舞宴乐；狩猎结束， 返回朝廷。全画青绿设色，运笔细腻精巧 ，与本院藏另两幅明代仇英的上林图同稿 ，作画的时代也相近。",[23,24,25,26,27,28,29,30,61,90,62,7,117,32,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187484737692286adb84a07e7ea03fa4.jpg","该幅 47.5x1298.2公分、隔水一 14.2公分、隔水二 11.1公分、隔水三 12.1公分、隔水四 13.5公分",[],{"id":20387,"slug":20388,"title":20389,"dynasty":133,"author":4160,"museum":459,"description":20390,"tags":20391,"thumbUrl":20392,"material":179,"size":179,"collection":179,"collections":20393,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},228042,"chun-shan-fang-you-tu-juan-sheng-mao-228042","春山访友图卷","此作用平远之法铺展春日江天，烟波澹澹横贯画面，晕染出空濛柔婉的山水意趣。左下角扁舟轻漾，舟中士人纵览春景，自在悠游；右侧山居隐于林木间，白墙黛瓦雅致静谧，暗合访友幽怀。\n\n远山以淡墨晕染，云雾缱绻萦绕峰峦，青绿浅施于山石林木间，温润雅致。笔致温婉细腻，皴染相辅，既绘出春山葱郁温润之态，亦将隐逸淡远的意韵融汇其间，藏着文人寄情林泉、悠游丘壑的雅趣。",[23,24,25,26,28,30,118,341,342,115,7,61,64,116,1473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445fe68c4573e00d69802e2d95defe19.jpg",[],{"id":20395,"slug":20396,"title":4704,"dynasty":133,"author":4160,"museum":459,"description":20397,"tags":20398,"thumbUrl":20399,"material":179,"size":179,"collection":179,"collections":20400,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},228039,"shan-shui-tu-ye-sheng-mao-228039","取半边崖岸入画，嶙峋石矶间苍松虬劲，层叠点叶凝萃出深林郁茂。淡墨晕开的远山横亘天际，汀渚隐于烟水间，虚实相生，将江南水岸的清寂铺陈开来。\n笔墨苍秀细密，皴笔勾勒出岩崖肌理，朴拙古雅的点染尽显草木生机，设色浅淡沉静，晕染出空濛的烟水之气。\n尺幅之间藏尽林泉幽致，萧散冷寂的氛围中暗藏澹泊意趣，如一卷袖珍的林泉雅集，邀人步入这方幽寂山水，静赏这份简淡悠远的林下清欢。",[23,24,25,385,114,118,28,30,7,115,63,64,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75acf187f7bc3f7c3c96d8b250e8c0ac.jpg",[],{"id":20402,"slug":20403,"title":20404,"dynasty":133,"author":20405,"museum":459,"description":20406,"tags":20407,"thumbUrl":20408,"material":179,"size":179,"collection":179,"collections":20409,"showCount":144,"zanCount":928,"manualWeight":48,"mainColor":49},227991,"wan-song-tu-juan-gu-chao-227991","万松图卷","顾超","此作用笔松灵秀润，以披麻皴晕染山峦，淡墨铺就出氤氲山林清气。近景苍松虬曲苍劲，坡岸错落间村居掩映，野趣横生。中景湖水萦回柔婉，轻描水纹分割出虚实层次，让画面灵动不滞。远景层峦间万松层叠，与山色相融，烘托出萧散空寂的林下氛围。整体简淡中见苍润，脱却匠气，以文人意趣勾勒林泉高致，将隐逸之思藏在笔墨留白间，引观者步入静穆幽远的山林之境，尽显寄情丘壑的林下风流。",[23,24,25,152,26,114,118,30,540,117,64,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1128d13ce286d88d7dc81f940e410197.jpg",[],{"id":20411,"slug":20412,"title":20413,"dynasty":18,"author":550,"museum":459,"description":20414,"tags":20415,"thumbUrl":20416,"material":179,"size":179,"collection":179,"collections":20417,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[23,152,24,25,26,60,118,114,28,119,153,30,115,462,64,117,7,289,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":20419,"slug":20420,"title":9405,"dynasty":18,"author":298,"museum":459,"description":20421,"tags":20422,"thumbUrl":20423,"material":179,"size":179,"collection":179,"collections":20424,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[23,24,25,26,437,28,61,30,116,63,64,115,7,62,119,153,70,73,345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":20426,"slug":20427,"title":20428,"dynasty":18,"author":5157,"museum":459,"description":20429,"tags":20430,"thumbUrl":20431,"material":179,"size":179,"collection":179,"collections":20432,"showCount":144,"zanCount":928,"manualWeight":48,"mainColor":49},227510,"bai-zi-you-yuan-tu-su-han-chen-227510","百子游园图","这是南宋画家苏汉臣绘的《百子嬉春图》。《百字嬉春图》是一小幅纨扇，但却结构复杂精妙，画家利用台栏池沼等高低上下称景。将一百名儿童布满画面，三五成组，相互呼应，远近关系处理得明确而有节奏，丰满而不拥塞，繁复而不杂乱。",[23,152,24,25,5161,29,28,61,5147,70,173,7,1621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058871fca58b31f28c71d5eb4f50c34e.jpg",[],{"id":20434,"slug":20435,"title":20436,"dynasty":18,"author":10194,"museum":459,"description":20437,"tags":20438,"thumbUrl":20441,"material":179,"size":179,"collection":179,"collections":20442,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,152,24,25,26,114,28,118,119,120,153,30,20439,20440,31,70,7,117],"松杉","风雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",[],{"id":20444,"slug":20445,"title":20446,"dynasty":18,"author":434,"museum":459,"description":20447,"tags":20448,"thumbUrl":20449,"material":179,"size":179,"collection":179,"collections":20450,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},227353,"xue-jing-shan-shui-tu-ye-yi-ming-227353","雪景山水图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。",[23,24,152,25,2895,114,28,30,818,7,35,117,118,748,1704,64,243,5454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfc4556f00600874ca160553f7402e2.jpg",[],{"id":20452,"slug":20453,"title":20454,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":20455,"thumbUrl":20458,"material":808,"size":809,"collection":3244,"collections":20459,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},226005,"poppy-field-argenteuil-1875-mo-nai-226005","Poppy Field, Argenteuil, 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84厘米",[],{"id":20616,"slug":20617,"title":18852,"dynasty":18,"author":944,"museum":167,"description":20618,"tags":20619,"thumbUrl":20620,"material":114,"size":20621,"collection":179,"collections":20622,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},221674,"feng-yan-zhan-juan-zhao-bo-ju-221674","画中的建筑物——敞轩，即所谓的「界画」。古代的风景画或人物画中有建筑物的构图，依赖界尺将建筑物的飞檐、楼阁、楹椽等画得唯肖唯妙，这种有直线的画，称为「界画」。其实界画极难，如非高手绝难胜任。界画是用千万条长短、横直和弯曲的线条交织画成，繁复单调，又不容有一笔差错。如何把呆版的线条绘成生动的画面，就是绘界画最困难之处。",[23,152,24,25,28,29,14733,153,30,116,61,761,7,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b511f6b89d3f3ff1e22db0037b5b729.jpg","24.9x26.7",[],{"id":20624,"slug":20625,"title":20626,"dynasty":18,"author":6327,"museum":658,"description":20627,"tags":20628,"thumbUrl":20629,"material":40,"size":20630,"collection":179,"collections":20631,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},221662,"qiu-shan-hong-shu-wan-shan-xiao-zhao-221662","秋山红树纨扇","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。画面左下“李唐笔”款系后人添。",[23,152,24,25,2895,28,30,118,2042,1081,7,243,244,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd419556bc9a2308e9386f6b62730944.jpg","纵197.8cm，横111.8cm",[],{"id":20633,"slug":20634,"title":16590,"dynasty":18,"author":713,"museum":658,"description":20635,"tags":20636,"thumbUrl":20640,"material":415,"size":20641,"collection":179,"collections":20642,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},221548,"qiu-chuang-du-yi-tu-liu-song-nian-221548","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[23,24,475,2895,29,3296,774,27,28,11870,20637,20638,117,7,1238,274,20639,5361,17494,119,153],"书斋","湖光水色","读书场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7f7a8a4570c2aef05e8549b15cb55c.jpg","25.7×26厘米",[],{"id":20644,"slug":20645,"title":20646,"dynasty":54,"author":7795,"museum":2458,"description":20647,"tags":20648,"thumbUrl":20649,"material":17447,"size":18513,"collection":179,"collections":20650,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":179},220737,"yan-jiang-die-zhang-tu-hua-xin-zuo-wen-bo-ren-220737","烟江叠嶂图画心左","此作用平远之境铺展江天盛景，淡墨晕染烟波，留白尽显水汽氤氲。层叠峰峦以枯笔轻勾浅皴，苍秀松灵，在云雾中远近隐现，似随江雾漾动。汀渚沙洲错落其间，林木蓊郁，渔舟点点散于空茫江面，生机暗涌。\n\n画面虚实相生，将江南烟水的空濛柔婉尽数铺陈，把远眺江天的悠然意趣藏进疏密错落的景致里，以极简笔墨晕染出无尽悠远的水乡诗意，淡而弥远，尽显文人画清逸雅致的审美意趣，让观画者如临江岸，沉浸式触摸江南烟水的温润灵秀。",[23,24,25,26,114,118,30,243,7,34,4848,37,4810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb26a5273e89c68c9cf3567f7ad1861.jpg",[],{"id":20652,"slug":20653,"title":20654,"dynasty":1743,"author":17755,"museum":8821,"description":20655,"tags":20656,"thumbUrl":20657,"material":179,"size":179,"collection":179,"collections":20658,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},220514,"chuan-yue-jiang-shan-de-ju-li-pu-xin-she-220514","穿越江山的距离","以淡墨晕染烟江叠嶂，远山轻描淡扫，留白托出平湖空寂，幽远淡宕。近岸佳木扶苏，笔致清劲灵秀，苍枝翠叶错落生姿，坡石间高士垂眉静坐，与烟水林泉相融无间。\n题跋笔墨隽雅，诗画相映，将幽居闲赏的林下襟怀藏于尺幅间。极简的水墨层次铺展空疏淡远之境，把天地间的清寂逸趣凝缩在这一纸烟岚里，尽显东方文人画的静穆禅意。",[23,24,25,202,114,118,120,153,30,7,115,61,117,500,674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a7f7ce3d1ef48dddd8b0d0f9283b6ce.jpg",[],{"id":20660,"slug":20661,"title":20662,"dynasty":18,"author":11177,"museum":167,"description":20663,"tags":20664,"thumbUrl":20665,"material":78,"size":20666,"collection":331,"collections":20667,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},219936,"qiu-lin-shui-niao-tu-gao-ke-ming-219936","秋林水鸟图","图绘柳岸水边,凫雁或飞或憩,地上与柳树上两只山鹊或觅食或远眺.小小尺幅内作全幅花鸟,气韵悠远,秋意盎然",[23,24,25,385,28,30,1158,4026,7,1290,118,3987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cfd1d3015da9ffdea2e6f7cf2a880f.jpg","26.5x26.6",[331],{"id":20669,"slug":20670,"title":20671,"dynasty":54,"author":434,"museum":2805,"description":20672,"tags":20673,"thumbUrl":20674,"material":78,"size":179,"collection":124,"collections":20675,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},219917,"xue-xi-gui-yu-tu-yi-ming-219917","雪溪归渔图","整幅画作浸在清寂冬意里，巨崖以淡墨皴擦，留白覆雪，棱线苍劲冷峻，带着寒山凝冻的硬挺质感，山间林梢缀着碎雪，萧疏冷冽。\n\n溪岸茅舍被厚雪压着檐角，屋中隐约可见围坐的暖融融烟火气，溪上渔舟系于岸边，归人正踏着板桥慢行，将荒寒雪景和俗世温情相融。淡晕的墨色晕染出空蒙的寒雾，虚实相生里，把冬日山野的清寂和渔居的安然揉为一体，于冷寂间藏着脉脉暖意，尽显冬日溪山的幽远意趣。",[24,30,28,29,118,747,117,7,35,61,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b3d2dba826278128c9a9bbaa02d226.jpg",[124],{"id":20677,"slug":20678,"title":20679,"dynasty":223,"author":434,"museum":167,"description":20680,"tags":20681,"thumbUrl":20682,"material":78,"size":179,"collection":44,"collections":20683,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},219596,"wan-nian-bu-lao-ce-sheng-xiang-ba-yuan-yi-ming-219596","万年不老册-圣相八元","此作分上下两段，上部以缠枝花卉环绕题字区域，碧绫为底墨字清隽，雅致沉静，烘托出古雅的文韵氛围。下部工笔绘就殿宇朝会小景，界画工致规整，朱红台栏与苍松翠色相衬，设色调和明丽。\n\n画中人物衣冠俨然，阶上二人低语，廊下众人肃立候见，举止从容端方，尽显朝堂仪制的庄重平和。笔触细腻柔和，树石晕染层次自然，衣褶线条舒朗流畅，将古典朝会的温婉肃穆悉数铺展，带着精工雅致的传统院画特质，于方寸间尽显静谧古雅的叙事意趣。",[24,25,385,28,29,61,7,69,8276,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396c7d9317e9fb030f5c555392c786d5.jpg",[44],{"id":20685,"slug":20686,"title":20687,"dynasty":18,"author":4856,"museum":167,"description":20688,"tags":20689,"thumbUrl":20690,"material":78,"size":20691,"collection":124,"collections":20692,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},218681,"song-zhai-chi-ke-tu-zhao-bo-su-218681","松斋迟客图","这幅画描绘了小河岸边的松树荫下的书房，一个童仆正在扫地迎客，一个隐士躺在水中。这幅画的笔触和色彩与故宫博物院收藏的画相似，可以接受为赵伯钦画派的作品。",[23,24,25,385,28,30,761,579,116,500,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6c2f0f32ae35c24eafb3a720ef6232.jpg","26.3x26.7",[124],{"id":20694,"slug":20695,"title":20696,"dynasty":54,"author":434,"museum":2956,"description":20697,"tags":20698,"thumbUrl":20699,"material":78,"size":20700,"collection":44,"collections":20701,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},218486,"lan-ting-tu-yi-ming-218486","兰亭图","绢本墨色晕开东晋风烟，茂林修竹间溪光蜿蜒。文士们或临流捧盏，或倚石清谈，曲水畔觞影浮动，衣袂轻扬处藏着《兰亭序》的旷达。山石皴法带明代疏朗意趣，林木层叠隐宋画余韵，人物姿态虽简却神形毕肖——握笔的凝思、笑谈的畅意，都在墨色流转中鲜活。没有名款的笔触，以最朴素的方式将那场雅集定格：不必追问作者是谁，只需在绢素的斑驳里，触摸千年文人心中的山水清欢与诗意栖居。",[23,24,25,28,61,30,116,7,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f3b2430c8326afefcf82c43b3b2e61.jpg","24.8x25.1",[44],{"id":20703,"slug":20704,"title":20705,"dynasty":223,"author":5143,"museum":382,"description":14425,"tags":20706,"thumbUrl":20707,"material":78,"size":14428,"collection":179,"collections":20708,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},218335,"shen-xian-gu-shi-tu-ce-4-leng-mei-218335","神仙故事图册-4",[23,152,24,25,385,29,28,61,30,881,7,923],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81ab169d7708da28bcaab243755917c4.jpg",[],{"id":20710,"slug":20711,"title":20712,"dynasty":133,"author":434,"museum":111,"description":20713,"tags":20714,"thumbUrl":20715,"material":78,"size":20716,"collection":124,"collections":20717,"showCount":144,"zanCount":928,"manualWeight":48,"mainColor":49},218192,"shan-dian-shang-chun-tu-yi-ming-218192","山殿赏春图","《山殿赏春图》是一幅典型的元朝时期山水画作品，作者是佚名。这幅画描绘了一座位于山间的小山殿，山殿周围群山环绕，远处是一片茂密的森林。山殿前有一道小溪流过，溪边有许多花草树木。画中还有许多小鸟在欢快地飞翔，整幅画充满了春天的气息。\n\n《山殿赏春图》的画风浓郁，笔画细腻，色彩丰富，整幅画给人以舒适、宁静、平和的感觉。这幅画是元朝时期山水画中的杰作，具有很高的艺术价值。\n\n元朝时期的山水画在中国画史上占有重要的地位，它不仅体现了元朝时期艺术家的高超技艺，还反映了元朝时期社会的文化氛围。《山殿赏春图》是元朝山水画中的经典之作，值得我们珍视和欣赏。",[24,2895,28,59,30,62,63,61,7,70,1044,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311780d392276a45c48f87622c8ca437.jpg","27.5x28.6cm",[124],{"id":20719,"slug":20720,"title":20721,"dynasty":54,"author":2132,"museum":514,"description":20722,"tags":20723,"thumbUrl":20724,"material":122,"size":179,"collection":44,"collections":20725,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},217912,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-217912","史记君臣故事图","垂杨拂地，苍干虬枝间柔条轻飏，荫蔽一方亭台。廊柱朱痕淡染，阶砌分明，建筑形制古雅端严。树下二人对语，衣纹简练却见动态，神情专注似述往昔君臣故事。笔墨兼具工致与写意：树木以干笔皴擦显苍劲，柳条以细墨勾勒见轻盈；人物虽小，形神宛然。右侧题跋墨色沉厚，与画面景致相契，文气郁郁。整幅画于清雅氛围中含叙事深意，笔墨精炼却意境悠远，尽显古典绘画的雅致与历史感，方寸间藏君臣故事的幽微余韵。",[24,25,28,59,29,61,62,90,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f26efa0724fedac6dd9fc6dbf1e63c.jpg",[44],{"id":20727,"slug":20728,"title":20729,"dynasty":18,"author":20730,"museum":266,"description":20731,"tags":20732,"thumbUrl":20734,"material":78,"size":20735,"collection":179,"collections":20736,"showCount":144,"zanCount":928,"manualWeight":48,"mainColor":128},216920,"xiang-shan-jiu-lao-tu-5-ma-xing-zu-216920","香山九老图-5","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,24,152,26,28,61,63,117,7,1067,20733,60,25],"对弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ade895c11993e636517b3ef76078d9.jpg","27.1x217.2",[],{"id":20738,"slug":20739,"title":20740,"dynasty":223,"author":9866,"museum":423,"description":20741,"tags":20742,"thumbUrl":20743,"material":303,"size":179,"collection":179,"collections":20744,"showCount":144,"zanCount":928,"manualWeight":48,"mainColor":128},216356,"hua-niao-ce-2-zhu-da-216356","花鸟册-2","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,24,25,114,30,7,117,118,342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffffd42f504ff7d40786c580ab5d99539.jpg",[],{"id":20746,"slug":20747,"title":20748,"dynasty":223,"author":3826,"museum":514,"description":3827,"tags":20749,"thumbUrl":20750,"material":122,"size":179,"collection":179,"collections":20751,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},214483,"he-yi-shan-shui-tu-ce-4-he-yi-214483","赫奕山水图册-4",[23,24,25,385,28,114,118,30,63,64,115,7,117,35,968],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0ed1d6ade19cb4365110ecfc3dc38c.jpg",[],{"id":20753,"slug":20754,"title":20755,"dynasty":223,"author":20756,"museum":111,"description":20757,"tags":20758,"thumbUrl":20759,"material":179,"size":179,"collection":124,"collections":20760,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":20761},201947,"wu-hou-tu-zhou-zhang-yu-201947","五猴图轴","章于","画面层峦叠嶂，远山以皴法勾勒，纹理苍劲，尽显山石嶙峋之态。山间瀑布垂落，似闻潺潺水声，添动势于静谧。近景古木虬枝，浓墨点叶，根系盘错扎于岩间，生机盎然。几只灵猴或攀枝、或踞石，姿态灵动，为山水注入鲜活气息。设色淡雅，水墨为底，间杂浅绿，清幽雅致。整体构图疏密有致，意境悠远，既见传统山水之韵，又因灵猴点缀而别具生趣，是一幅兼具笔墨功底与意趣的佳作。",[24,30,7040,118,28,7,204,117,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3c70ba51d72ed1e126532526ba5d14.jpg",[124],"bcafa2",{"id":20763,"slug":20764,"title":3901,"dynasty":133,"author":5646,"museum":459,"description":20765,"tags":20766,"thumbUrl":20768,"material":808,"size":809,"collection":179,"collections":20769,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},290789,"shan-shui-ce-cao-zhi-bai-290789","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[24,25,385,30,114,118,243,7,62,20767,37],"佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c6d9323959376a70ce09d6eefe44290.jpg",[],{"id":20771,"slug":20772,"title":20773,"dynasty":133,"author":10132,"museum":167,"description":20774,"tags":20775,"thumbUrl":20776,"material":303,"size":20777,"collection":124,"collections":20778,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},290342,"qiu-shan-xing-lv-zhou-ma-wan-290342","秋山行旅轴","崇山叠峦，行旅骑驴荷物而行。全图构景系密，用笔多属中锋，用墨简澹，设色淡雅。压顶一峰皴笔疏简，以平点层层作小树，特觉清逸秀出。该幅无作者款印，幅上有董其昌题，云：“马文璧秋山行旅图”。",[24,152,202,475,114,28,2042,205,63,64,117,7,62,426,1704,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9701795d9df53db4d67bf8d7090ab986.jpg","124.5x33.3",[124],{"id":20780,"slug":20781,"title":20782,"dynasty":133,"author":10132,"museum":459,"description":20783,"tags":20784,"thumbUrl":20786,"material":808,"size":809,"collection":179,"collections":20787,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},290084,"mu-yun-shi-yi-tu-ma-wan-290084","暮云诗意图","此图描写山岭深处日暮雨后之景。层峦逶迤，或隐或现，平岗陂陀上林木深秀，临水有亭，隔溪板桥相接。山嶂烟岚轻动，茅屋村舍掩映。巨岗坡石用凝重柔和的披麻皴层层勾皴，表现出浑厚伟峻的形势。全图的布局以高峻的峰岫和巨大的岗石作为主体，具有雄伟壮阔的气势。同时布置潺泼和跳跃的溪泉、茂盛的草木和板桥茅舍，并在群峰间烘染缭绕氤氲的云霭，使境界显得既苍莽又空灵。",[24,30,28,118,243,7,63,64,20785,153],"暮云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5dc7479135a800eb91d0cb545ec8ca5.jpg",[],{"id":20789,"slug":20790,"title":20791,"dynasty":620,"author":827,"museum":459,"description":13131,"tags":20792,"thumbUrl":20793,"material":808,"size":809,"collection":179,"collections":20794,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},289377,"xi-shan-yuan-xiu-tu-jing-hao-289377","溪山远岫图",[23,152,24,2895,30,114,118,243,7,1705,10585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaaf0dd9927f4e6e4fb2fa2d0fcb8487.jpg",[],{"id":20796,"slug":20797,"title":599,"dynasty":18,"author":20798,"museum":167,"description":20799,"tags":20800,"thumbUrl":20801,"material":555,"size":20802,"collection":179,"collections":20803,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},289107,"shan-shui-tu-gou-long-shuang-289107","勾龙爽","勾龙爽，又名句龙爽，四川人，生卒年月不详。\n宋代宫廷画家，擅长人物画。神宗时官翰林待诏。时称他画的人物“其状质野，有返朴之意。” 作品有《西成民乐图卷》《岁丰图卷》等。",[24,152,475,114,118,115,116,63,243,1290,7,119,153,17494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46adb2dfd4a776f60c4615a48352537.jpg","40.8x29.7",[],{"id":20805,"slug":20806,"title":20807,"dynasty":223,"author":647,"museum":459,"description":15489,"tags":20808,"thumbUrl":20809,"material":808,"size":809,"collection":179,"collections":20810,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},288284,"fang-wang-meng-xia-ri-shan-ju-tu-wang-yuan-qi-288284","仿王蒙夏日山居图",[24,152,25,202,30,114,118,60,243,7,62,64,63,1704,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa815f93b91dc942a5a6d9712d40cbc0d.jpg",[],{"id":20812,"slug":20813,"title":20814,"dynasty":223,"author":3550,"museum":459,"description":7319,"tags":20815,"thumbUrl":20816,"material":808,"size":809,"collection":179,"collections":20817,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},287690,"you-ju-tu-kun-can-287690","幽居图",[24,114,30,152,63,64,115,6502,243,7,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75a6e8ddc61f4f930a7c121024ce85b.jpg",[],{"id":20819,"slug":20820,"title":20821,"dynasty":54,"author":19270,"museum":459,"description":20822,"tags":20823,"thumbUrl":20824,"material":179,"size":179,"collection":124,"collections":20825,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},239013,"ju-jie-shan-shui-zhou-ju-jie-239013","居节山水轴","画史记载居节“尚气节，虽窭甚，惟以丹青自娱，不曳侯门裾” (《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[24,25,202,114,118,119,153,30,116,7,117,61,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[124,103,1822],{"id":20827,"slug":20828,"title":15833,"dynasty":223,"author":3937,"museum":459,"description":15834,"tags":20829,"thumbUrl":20830,"material":179,"size":15837,"collection":179,"collections":20831,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},238028,"hong-ren-shan-shui-tu-ce-hong-ren-238028",[24,25,114,30,385,118,437,117,7,35,1290,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12cd8e2a8b9ef7aa9b3c431dd9e276fe.jpg",[],{"id":20833,"slug":20834,"title":16391,"dynasty":54,"author":3689,"museum":459,"description":3690,"tags":20835,"thumbUrl":20836,"material":808,"size":809,"collection":179,"collections":20837,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},237943,"shan-shui-shan-mian-wu-bin-237943",[24,25,2895,114,118,30,117,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102ba100191b06c111a401b4fc3e003d.jpg",[],{"id":20839,"slug":20840,"title":20841,"dynasty":54,"author":20842,"museum":459,"description":20843,"tags":20844,"thumbUrl":20845,"material":808,"size":809,"collection":179,"collections":20846,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},237846,"long-tan-xiao-yu-shan-cheng-jia-sui-237846","龙潭晓雨扇","程嘉燧","程嘉燧（1565～1643）明代书画家、诗人。字孟阳，号松圆、偈庵，又号松圆老人、松圆道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，释名海能。",[24,25,2895,114,30,1067,117,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6625835e8171d6cba2ccce1bb4472c4e.jpg",[],{"id":20848,"slug":20849,"title":6479,"dynasty":223,"author":20850,"museum":459,"description":20851,"tags":20852,"thumbUrl":20853,"material":179,"size":179,"collection":124,"collections":20854,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},237468,"shan-shui-tu-zhou-zhou-tang-237468","周棠","周棠（1806 ～ 1876），字召伯，一字少白，号兰西，山阴（今浙江绍兴）人。官光禄寺署正。写意花卉酷似徐渭、陈淳。山水则师石涛。晚年专画石，张之万称为清代画石第一。朝鲜使者每乞其画归。能诗，兼工篆、隶，善刻印章。",[24,25,202,114,228,30,358,7,61,4163,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d739fa2aaf5310e49b14142a60cf5b.jpg",[124,103],{"id":20856,"slug":20857,"title":20858,"dynasty":54,"author":20859,"museum":20,"description":20860,"tags":20861,"thumbUrl":20862,"material":360,"size":179,"collection":124,"collections":20863,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},237452,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-237452","晴雪长松图轴","张瑞图","张瑞图书法、绘画兼精。书法得张旭、怀素神韵，与董其昌等并称“明末四大书家”，但其书法风格则迥异他人，风貌奇倔狂逸，后世称“瑞图书法奇逸，钟、王之外，另辟蹊径。”绘画则学黄公望，风格苍劲，点染清逸。他的画作大多是偶然兴至所作，故而传世作品甚少，其大幅画作特点是笔墨粗放，构景空疏。此图墨笔绘清泉细石，苍松之上落满积雪，全图面貌苍润，用笔皴染结合、勾点交错，笔力浑厚，足见张氏笔墨功力精到。\n本幅自题：“冻泉依细石，晴雪落长松。庚午春仲果亭图写”，钤“瑞图”朱文方印，“张长公”朱文方印。题字结体狂怪，笔画劲健纵逸，气韵外露，颇富“奇异”之态。据此，可知此图作于崇祯三年（1630），张瑞图时年60岁，正是他罢官遣归之年。图中题句出自杜甫诗《谒真谛寺禅师》。",[24,25,202,114,30,540,117,818,118,7,6454,14526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0c986419dee5327b255f01afe2fab23.jpg",[124,103],{"id":20865,"slug":20866,"title":20867,"dynasty":223,"author":20868,"museum":459,"description":20869,"tags":20870,"thumbUrl":20871,"material":808,"size":809,"collection":179,"collections":20872,"showCount":193,"zanCount":928,"manualWeight":48,"mainColor":128},237449,"wu-gu-xiang-qing-lu-heng-yun-shan-mian-wu-gu-xiang-237449","吴穀祥晴麓横云扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[24,25,2895,28,114,30,117,7,881,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a7f0dc5675aae5a446ce84cedfe87a.jpg",[],{"id":20874,"slug":20875,"title":16391,"dynasty":54,"author":20876,"museum":459,"description":20877,"tags":20878,"thumbUrl":20879,"material":808,"size":809,"collection":179,"collections":20880,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},237404,"shan-shui-shan-mian-xie-dao-ling-237404","谢道龄","字邢台，一作彬台，吴（今江苏苏州）人。移寓江宁（今南京）。与周亮工望衡而居。善花鸟，尤工折枝，兼善山水，类赵伯驹、赵孟頫。崇祯元年（一六二八）尝作山水扇",[2895,24,30,114,118,62,63,64,115,7,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b71c94b91201216e2e0f580b8bddcc.jpg",[],{"id":20882,"slug":20883,"title":20884,"dynasty":223,"author":434,"museum":20,"description":20885,"tags":20886,"thumbUrl":20887,"material":20888,"size":20889,"collection":124,"collections":20890,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},237151,"zheng-min-qiu-lin-du-shu-tu-zhou-yi-ming-237151","郑旼秋林读书图轴","此作用笔萧散简淡，远山奇崛冷峻，枯松虬木姿态苍劲古拙，水畔文士持杖独立，似在凝眺幽林远岫，静享林泉清寂。左侧题诗与画作相融，以水墨淡皴晕染山石，浓墨点苔醒出苍润质感，枯荣林木错落相衬，满卷秋意萧寒空灵。借林下幽境，寄寓避俗忘机的文人襟怀，将山水之幽与隐逸之思交织，笔意藏着清疏雅逸的出世意趣，尽显传统文人画以画明心的雅致风骨。",[24,25,202,114,118,30,61,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11420027d975e42468ac799413d85192.jpg","纸本淡设色","纵135cm，横112.5cm",[124,103,1822],{"id":20892,"slug":20893,"title":3901,"dynasty":54,"author":20894,"museum":459,"description":20895,"tags":20896,"thumbUrl":20897,"material":360,"size":179,"collection":124,"collections":20898,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},237027,"shan-shui-ce-zhang-yan-237027","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n与董其昌同时，善于画山水、人物、花卉，与苏州张宏齐名。",[24,25,385,114,118,30,117,7,501,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f632a06e9383dc4a5468b0b3c0a111b.jpg",[124,45],{"id":20900,"slug":20901,"title":16391,"dynasty":54,"author":19755,"museum":459,"description":19756,"tags":20902,"thumbUrl":20903,"material":808,"size":809,"collection":179,"collections":20904,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},236811,"shan-shui-shan-mian-liu-yuan-qi-236811",[24,2895,30,114,28,118,117,7,204,1289,61,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6dd3b962fbdb6a810552885f1d4de.jpg",[],{"id":20906,"slug":20907,"title":20908,"dynasty":223,"author":3836,"museum":459,"description":20909,"tags":20910,"thumbUrl":20911,"material":179,"size":20912,"collection":44,"collections":20913,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},236308,"lie-zi-yu-feng-zhou-hua-yan-236308","列子御风轴","列子是与老子、庄子同时代的道家学术代表人物，著有《列子》学说一书。关于列子有一则非常有名的典故，便是“列子御风”，体现出“大道至简”的理念，而华喦将这则典故变成一幅飘逸洒脱的画作。",[24,25,202,114,30,61,7,881,156,118,579,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5baafd21ec43e88cc5e6ae79800d83c.jpg","长78、宽32.5厘米",[44,45],{"id":20915,"slug":20916,"title":20917,"dynasty":54,"author":3786,"museum":459,"description":20918,"tags":20919,"thumbUrl":20920,"material":808,"size":809,"collection":179,"collections":20921,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},235532,"shan-shui-shan-ye-lu-zhi-235532","山水扇页","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[2895,24,25,114,28,30,7,116,64,115,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe1ef5fbf574dd1807ab602c8ebf44d.jpg",[],{"id":20923,"slug":20924,"title":20925,"dynasty":223,"author":1998,"museum":459,"description":20926,"tags":20927,"thumbUrl":20928,"material":808,"size":809,"collection":179,"collections":20929,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},235272,"chun-chou-mai-lang-tu-zhou-yuan-yao-235272","春畴麦浪图轴","袁耀（生卒年不详，约活动于18世纪中期），字昭道，江都（今江苏扬州）人，袁江之子。生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。工于山水楼阁界画，继承了唐宋及明代仇英青绿山水的画法。笔墨严整工细，设色艳丽浓郁，与父袁江同为清代界画代表人物。",[24,25,202,28,29,30,35,61,7,426,3148,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b039db189b0a1cf8a3e88d590b307b8.jpg",[],{"id":20931,"slug":20932,"title":20933,"dynasty":223,"author":1998,"museum":459,"description":20934,"tags":20935,"thumbUrl":20937,"material":179,"size":179,"collection":179,"collections":20938,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},235119,"han-gong-qiu-yue-tu-zhou-yuan-yao-235119","汉宫秋月图轴","《汉宫秋月图》是清代袁耀创作的绢本设色画。\n本幅自题：“汉宫秋月，壬申初冬邗上袁耀画。\n”钤“袁耀”、“昭道”印2方。\n袁江和袁耀父子的绘画艺术，从题材到绘画风格完全一脉相承。\n“汉宫秋月”是袁氏父子经常画的一个题材，内容以昭君出塞的历史故事为背景。\n王昭君是汉元帝时的宫女，貌美且有志气，自愿远嫁匈奴和亲。\n在她的影响下，匈奴与中原之间得以和平相处，“三世无犬吠之警，黎庶无干戈之役”。\n袁耀曾多次选此题材，其主要兴趣在于描绘华美的宫殿建筑。\n此幅中殿宇宫门紧闭，月光似水，将庭院笼罩在一片苍茫的夜色中，淡淡的凄凉情调正符合王昭君即将远离故乡和亲人的离愁别绪，这使得原本精工华丽的楼阁也带上了一丝哀婉的色彩。\n袁耀（生卒年不详，约活动于18世纪中期），字昭道，江都（今江苏扬州）人，袁江之子。\n生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。\n工于山水楼阁界画，继承了唐宋及明代仇英青绿山水的画法。\n笔墨严整工细，设色艳丽浓郁，与袁江同为清代界画代表人物。",[24,202,59,28,29,62,61,7,2316,173,20936,70],"宫殿建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42519666a6f65ddfe5d818f7ca2bf727.jpg",[],{"id":20940,"slug":20941,"title":20942,"dynasty":223,"author":434,"museum":20,"description":20943,"tags":20944,"thumbUrl":20945,"material":415,"size":7985,"collection":124,"collections":20946,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},234898,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234898","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,25,385,28,120,119,153,30,62,117,7,156,2316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5d9b3ab8de6f6a73f21664055f4b51a.jpg",[124,45],{"id":20948,"slug":20949,"title":380,"dynasty":223,"author":20950,"museum":459,"description":20951,"tags":20952,"thumbUrl":20953,"material":179,"size":179,"collection":124,"collections":20954,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},234254,"shan-shui-tu-ce-jin-xue-jian-234254","金学坚","金学坚，字成峰，秀水（浙江嘉兴）人。王翚弟子。山水初宗元人，后参宋法，笔意古健，布局极为绵密。",[23,24,28,385,30,118,243,7,35,64,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f66fd4c895d162d5784a0043b41cbd.jpg",[124,45],{"id":20956,"slug":20957,"title":20958,"dynasty":54,"author":2636,"museum":459,"description":20959,"tags":20960,"thumbUrl":20961,"material":179,"size":179,"collection":179,"collections":20962,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},234224,"wen-zheng-ming-yu-xi-tu-juan-wen-zheng-ming-234224","文徵明雨溪图卷","文壁（1470年－1559年），字徵明，中年后以字行，更字徵仲，号衡山居士、停云生，直隶长州（今江苏苏州）人，祖籍湖广衡山（今湖南衡东），明代画家，与唐寅、沈周、仇英合称为“明四家”（亦称“吴门四家”或“吴门四杰”）；并与唐寅、祝允明、徐祯卿并称“吴中四才子”。一生历经成化、弘治、正德、嘉靖四朝，晚年与老师沈周并驾齐驱，继沈周之后成为吴派领袖。\n从正德到嘉靖年间，据《吴门画史》一书统计，吴派画家共有876人，人材济济，但在当时，出类拔萃，声名显赫，唯有沈周、文徵明等一些人。",[23,24,25,26,114,30,7,1665,35,64,500,120,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8170da07386953cd65ae2ac94a4c1c02.jpg",[],{"id":20964,"slug":20965,"title":20966,"dynasty":223,"author":434,"museum":20,"description":20967,"tags":20968,"thumbUrl":20969,"material":40,"size":20970,"collection":179,"collections":20971,"showCount":193,"zanCount":928,"manualWeight":48,"mainColor":128},234106,"qing-ren-wan-shou-tu-juan-yi-ming-234106","清人万寿图卷","画家用纪实手法描绘康熙帝六十岁生日前夕銮驾由畅春园还宫，沿途接受官民仰瞻的欢庆场面。每卷 卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[24,25,26,28,29,59,61,62,63,64,116,90,7,399,760,1459,66,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 厘米",[],{"id":20973,"slug":20974,"title":4072,"dynasty":223,"author":381,"museum":459,"description":4073,"tags":20975,"thumbUrl":20976,"material":360,"size":4077,"collection":179,"collections":20977,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},233389,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233389",[24,25,385,114,118,30,7,35,4677,500,540,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dd07e263d6842255d1b2f9f64607308.jpg",[],{"id":20979,"slug":20980,"title":20981,"dynasty":54,"author":110,"museum":20,"description":20982,"tags":20983,"thumbUrl":20984,"material":2012,"size":20985,"collection":179,"collections":20986,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},232998,"si-chao-xuan-zao-zhen-ce-kong-lin-ji-yu-ye-shen-zhou-232998","四朝选藻贞册-空林积雨页","此图原载《四朝选藻册》，作者沈周用率笔随意点染丛林、云雨、平冈、小溪和房舍。用笔灵活潇洒，一气呵成，于简率之中见生动秀逸之致。画上左上方作诗二首，款：乙未九月积雨作《雨闷》二首，复作此景书之。是日忽晴，吾意彼苍，亦闻颠崖赤子私讽之语而见悯耶。念七日周。乙未为公元一四七五年，时沈周四十九岁。钤启南一印。右上方有吴宽题记一则，钤胸中天地一印。又钤安仪周家珍藏印。对开有清高宗弘历题诗，钤太上皇帝之宝等鉴藏印多方，曾经清安岐、清乾隆内府收藏。\n“久雨阴连结，晴天安在哉？”这件作品是画家在积雨郁闷之日所作。画中描绘一平坡后的雨中树林景色。画面构景简洁，坡石后的林中溪水，缓缓流淌。低屋掩映，云气弥漫，雨雾迷朦。画家以粗笔而写，墨色浑润，淡墨渲染，使画面显得湿气欲滴，阴雨连绵与画家郁闷难解的情绪跃然画上，与画家自题两首诗恰相对照。其一曰：“茅檐何日霁，溜响漫沉沉，气郁惟添睡，愁多亦怕吟。积润变鸣琴。安得东轩月，皓然当我襟。”\n沈周出身诗画世家，祖孟渊、父恒吉、伯贞吉，均以诗画名满吴中，祖上收藏甚丰，对古人诗画见多识广。沈周一生不仕，淡泊功名，博览勤学，仅“以丹青以自适”，专心从事丹青与诗文艺术，毕生勤於诗画创作，声誉卓著，德高望重。其艺术质朴而有情致，画风纯化，刻苦研究前人的优秀理论与技法，融会贯通，创立了自己的风格，成为我国十五世纪下半叶在戴进之後最有影响最具独创力的一位画家，在绘画、书法和文学艺术方面都取得了卓越的成就，其最杰出的当表现在绘画方面，嘉靖年间苏州名士王登在《吴郡丹青志》中称“先生石田绘事为当代第一”，绘画兼收并蓄，人物、山水、花鸟无不精通。\n沈周绘画以山水为主，宗法元四家，远取董（源）、巨（然），中年宗元四家笔墨，尤其推崇黄公望，晚年醉心吴镇，与自家学养融为独特风格，结构谨严，用笔苍劲沉着，墨色浓厚，气韵雄逸，在明中期画坛兴起画风剧变之潮。以他为发端，其门人文徵明继之，合唐寅、仇英为一局，树起吴门画派旗帜，广学“唐宋名流及胜国贤胜，上下千载，纵横百辈”皆“兼综条贯，莫不揽其精微”（明朱谋□《画史会要》），成就之巨，在中明画坛骤立巨峰，影响所及，数百年不变，其画艺彪炳画史，成就卓然。同时，沈周作为一代画坛宗匠，其於诗文、书法无一不能，无一不精，其诗意清新，“面试《凤凰台赋》，援笔而就，咸以为不减王子安”（清钱谦益《列朝诗集小传》）。其书法师黄山谷而不染他体，去山谷行书之捍，多灵便秀逸。时人以其诗、书、画为三绝。",[24,25,385,114,118,120,119,228,30,7,206,676,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea074939e6dab7adace5c129ec5c8c97.jpg","纵21.7厘米 横29.2厘米",[],{"id":20988,"slug":20989,"title":20990,"dynasty":3235,"author":20991,"museum":459,"description":20992,"tags":20993,"thumbUrl":20994,"material":808,"size":809,"collection":179,"collections":20995,"showCount":193,"zanCount":928,"manualWeight":48,"mainColor":1138},231749,"si-ji-shan-shui-tu-ping-feng-di-4-ping-zhou-wen-231749","四季山水图屏风第4屏","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[23,24,114,30,62,7,117,118,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5a32141c2718bb6b808c418df78505.jpg",[],{"id":20997,"slug":20998,"title":20999,"dynasty":3235,"author":434,"museum":459,"description":21000,"tags":21001,"thumbUrl":21004,"material":808,"size":809,"collection":179,"collections":21005,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},231651,"tao-shan-shi-qi-liu-wang-de-huang-di-ping-feng-yi-ming-231651","桃山时期 流亡的皇帝屏风","金箔为底晕开朦胧暖光，淡墨细绘出浩渺水岸，层层水纹带着澹澹涟漪，铺陈开幽寂江景。左岸孤客彳亍，衣袂似随江风微扬，满溢羁旅怅惘。右畔水榭依水而立，灼灼桃枝缀着浅淡花意，晕开零落暖意，和空阔江天的萧寂形成温柔的对照。\n水墨冷寂被金箔柔光轻轻中和，将沉郁藏在清雅笔意间，留白里晕开澹澹愁思，以侘寂幽玄的笔致，把漂泊况味融在烟暮色中，在极简构图里铺陈出含蓄悠长的诗意。",[23,152,24,25,174,114,28,21002,118,30,61,69,7,244,32,21003],"金碧","开花植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dcce2a562d3507c088b54444c8a8b0f.jpg",[],{"id":21007,"slug":21008,"title":10438,"dynasty":18,"author":827,"museum":3521,"description":21009,"tags":21010,"thumbUrl":21011,"material":360,"size":179,"collection":179,"collections":21012,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[23,24,25,475,114,28,118,29,119,120,153,61,30,117,7,426,116,18,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":21014,"slug":21015,"title":21016,"dynasty":18,"author":434,"museum":167,"description":21017,"tags":21018,"thumbUrl":21020,"material":140,"size":21021,"collection":179,"collections":21022,"showCount":193,"zanCount":928,"manualWeight":48,"mainColor":49},231343,"shan-shui-tu-shui-cun-shan-si-tu-yi-ming-231343","山水图（水村山寺图）","浅设色画水村山寺。柳岸舟横。无款印。诗塘御制诗楷书",[24,475,28,118,117,7,32,115,21019,358,500,2808,66,1290],"山寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9794dcebe0d39fa1476cf1a613caa639.jpg","纵114cm,横57cm",[],{"id":21024,"slug":21025,"title":238,"dynasty":54,"author":434,"museum":459,"description":21026,"tags":21027,"thumbUrl":21028,"material":179,"size":179,"collection":179,"collections":21029,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},228792,"zao-chun-tu-yi-ming-228792","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[23,152,24,25,26,28,27,29,118,153,119,30,62,63,64,116,7,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e585065867ec31afa0.jpg",[],{"id":21031,"slug":21032,"title":21033,"dynasty":54,"author":17376,"museum":459,"description":21034,"tags":21035,"thumbUrl":21036,"material":179,"size":179,"collection":179,"collections":21037,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},228758,"guan-hua-tu-zhang-lu-228758","观画图","这幅画作以巨松浓墨开篇，衬出山居小屋错落野趣。画面群像鲜活灵动：扶案老者凝目观画，村汉孩童攒头探看，窗内女子隔帘偷觑，各有神态，将乡野小民观画时的好奇热忱尽数铺展。\n\n笔意承袭浙派写意，线条粗粝劲健，衣纹顿挫利落，墨色浓淡铺陈拉开远近层次。以简括布景衬出盎然烟火，粗笔间藏着细腻情思，寥寥数笔便把俗世片刻的鲜活意趣定格，尽显明代人物画世俗化的鲜活风貌，将山野日常的闲适与观画时的热闹相融，质朴又传神。",[23,24,25,114,28,437,61,69,7,1665,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ac9c01422f9d12f5cf20f72d77ee8d.jpg",[],{"id":21039,"slug":21040,"title":3928,"dynasty":54,"author":4131,"museum":459,"description":21041,"tags":21042,"thumbUrl":21043,"material":179,"size":179,"collection":179,"collections":21044,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":1138},228755,"shan-shui-tu-juan-wen-jia-228755","此卷以细笔绘就平远山水，起首林麓幽深，梵宇隐于松云之间，谷中云气萦回，衬出山峦层叠之致。中段湖面空阔，汀渚错落，村居藏于茂林，渔舟泛于烟波，尽展江南水泽的清和之态。后段重峦复岭，嘉木葱茏，山居错落嵌于岩岫间。\n笔墨承吴门清雅之风，山石以披麻皴写就，松枝虬劲秀挺，设色浅淡清逸，整体气息静谧淡远，将文人悠游林泉的雅趣寄于山水之间，尽显江南山水温婉诗意，是文人画萧散意境的绝佳体现。",[23,24,25,26,114,118,30,7,117,37,116,64,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59685d508ab0343fdec514458d694349.jpg",[],{"id":21046,"slug":21047,"title":11735,"dynasty":18,"author":434,"museum":459,"description":21048,"tags":21049,"thumbUrl":21050,"material":179,"size":179,"collection":179,"collections":21051,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},227891,"shen-tang-qin-qu-tu-yi-ming-227891","《宋扇面画深堂琴趣图》是宋代画家佚名创作的一幅绢本设色画。\n此画现藏于北京故宫博物馆。\n【文物原属】故宫旧藏 【简介】 绢本，设色，纵：2.6cm，横：24.9cm。\n本幅无款印。\n钤收藏印 “仪周珍藏”一方。\n远山一带，巨壑空茫。\n建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。\n整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。\n从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。\n从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。\n这在宋诗、宋词和宋画中留有许多经典的范例。\n如从 的《 》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。\n音乐，求其意境，要有共鸣、幽远方妙。\n《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。\n深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。\n门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。\n庭石上又有青松一株，遥承琴声，而成风如松。\n环境与音乐布局协和生发，绝无滞碍。\n主人弹琴，恰好面东，而门对南，空间方位甚为有序。\n如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。\n设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。\n所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。\n这些看似细微之处，正可见宋人对画中空间风水的深刻认知。\n画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。\n可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。\n—— 著《 》",[23,24,25,152,2895,28,30,62,7,117,63,61,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1ea677f5f541183dafad361e3563ed.jpg",[],{"id":21053,"slug":21054,"title":21055,"dynasty":18,"author":4856,"museum":459,"description":21056,"tags":21057,"thumbUrl":21058,"material":179,"size":179,"collection":179,"collections":21059,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},227749,"bi-shan-gan-yu-tu-zhao-bo-su-227749","碧山绀宇图","南宋 赵伯骕 碧山绀宇图绢本25.5x25\n\n赵伯骕,（一一二四至一一八二）字希远。伯驹弟。和州防御使。少从高宗于康邸，以文艺侍左右。善山水、人物，尤长于花鸟，傅染轻盈，颇有生意。界画亦精，尝绘姑苏天庆观样进呈，考宗书其上令依原样建造，即今之玄妙观。\n兄弟博涉书史，皆妙于丹青，以萧散高迈之气，见于毫素。尝论画以为写人物、动、植，画家颇能具其相貌，但吾辈胸次，自应有一种风规，神气悠然，韵味清远，不为物态所拘，便有佳处。况吾所存，无媚於世，而能合於丛情者，要在悟此。故二人以一圆墨，舒卷万象，俱受圣知。凡所落墨，皆缥囊玉轴为上方珍玩。卒年五十九。",[23,24,25,30,27,28,62,117,7,204,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa140c79a62d2d325e3c86c73ee3a47e.jpg",[],{"id":21061,"slug":21062,"title":14583,"dynasty":990,"author":434,"museum":5990,"description":11274,"tags":21063,"thumbUrl":21064,"material":808,"size":809,"collection":179,"collections":21065,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},226195,"ku-zhu-shi-nan-bi-yi-ming-226195",[3402,923,28,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8397187858234161d37367273ac0bbb9.jpg",[],{"id":21067,"slug":21068,"title":21069,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":21070,"thumbUrl":21072,"material":808,"size":809,"collection":3244,"collections":21073,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},226115,"the-seine-at-bougival-in-the-evening-1870-mo-nai-226115","The Seine at Bougival in the Evening, 1870",[3239,7526,10664,32,21071,34,69,7,411,7420,16526,9938,9940],"晚霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce56a972635315838112f6d9f26c2f8d.jpg",[3244],{"id":21075,"slug":21076,"title":21077,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":21078,"thumbUrl":21079,"material":808,"size":809,"collection":3244,"collections":21080,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},225934,"giverny-mo-nai-225934","Giverny",[3239,7526,8242,994,411,5404,9952,7,3148,5426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0800caf2567818f4cbe8a82dad1c4f0.jpg",[3244],{"id":21082,"slug":21083,"title":21084,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":21085,"thumbUrl":21087,"material":808,"size":809,"collection":3244,"collections":21088,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},225829,"the-flowering-orchard1888-fan-gao-225829","The Flowering 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2-yao-wen-han-218042","天王像-2","画面中央，蓝面天王怒目圆睁，身覆华彩甲胄，火焰纹背光如烈焰腾跃，手持长剑破云而出，气势赫赫镇慑四方。衣袂飘带以青蓝、绛紫交织，流转间似有风动；周身祥云缭绕，山石皴染细腻，树木葱茏添了几分生机。下方小鬼姿态灵动，与天王的威严形成对比，却又暗合护法之意。设色浓艳而不失雅致，线条工细兼具力道，既承传统宗教画的庄严法度，又融清代宫廷绘画的精致华美，将护法神祇的刚猛与画作的细腻韵致完美相融，观之令人屏息。",[24,25,923,4310,28,29,21318,19424,1856,117,7,21319,21320,21321,153],"天王","长剑","甲胄","护法神祇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd3fc9b875da533c0dde2f6bb2515557.jpg",[],{"id":21325,"slug":21326,"title":21327,"dynasty":990,"author":434,"museum":5987,"description":21328,"tags":21329,"thumbUrl":21330,"material":5995,"size":179,"collection":179,"collections":21331,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":49},217280,"jiang-mo-bian-dun-huang-tu-juan-7-yi-ming-217280","降魔变·敦煌图卷-7","长卷舒展如流动的经卷，将佛教降魔的奇幻与庄严缓缓铺陈。帐幔轻垂处，法相庄严的尊像端坐，身旁弟子凝神谛听；云端神兽振翅而来，羽翼间携着缥缈仙气；山林间的魔众与力士对峙，动态鲜活如临其境。线条柔劲相济，似春蚕吐丝般勾勒出人物的衣袂飘举与神情百态；设色淡雅古拙，赭石与墨色晕染出唐代的雍容韵致。每一处场景皆为叙事切片，从论法的肃穆到斗法的惊心，将佛教义理融入生动的视觉语言，尽显敦煌艺术的灵动与深邃。",[152,24,25,26,923,28,29,5990,61,90,1855,156,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e702adf2feb12b6085fb4ec31e73ed.jpg",[],{"id":21333,"slug":21334,"title":21335,"dynasty":133,"author":434,"museum":551,"description":21336,"tags":21337,"thumbUrl":21338,"material":555,"size":179,"collection":179,"collections":21339,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":128},214606,"shan-ge-liang-ting-tu-yi-ming-214606","山阁凉亭图","元代是中国历史上的一个时期，时间大约在公元1271年至公元1368年。\n\n佚名是一个术语，用于描述一些文献或艺术品的作者未知或不详的情况。因此，如果一幅画的作者是佚名，则我们并不知道创作这幅画的人是谁。\n\n山阁凉亭图是一幅中国画，其中展现了一个山阁凉亭的景色。凉亭是一种设计精美的户外建筑，通常设在花园、公园或池塘边，供人休息或观赏风景。山阁凉亭图可能描绘了一个美丽的山阁凉亭，周围环绕着美丽的山景。",[23,24,25,59,114,30,116,62,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe27321a916c6a22e06cd6aa95e65ac.jpg",[],{"id":21341,"slug":21342,"title":1178,"dynasty":21343,"author":5114,"museum":111,"description":21344,"tags":21345,"thumbUrl":21347,"material":179,"size":179,"collection":124,"collections":21348,"showCount":193,"zanCount":48,"manualWeight":48,"mainColor":21349},202825,"shan-shui-zhou-huang-bin-hong-202825","近代","这幅山水轴笔墨苍劲浑厚，意境幽远深沉。上部山峦层叠，以浓淡干湿的墨色皴擦点染，山体纹理交错，尽显雄奇厚重之态；山脚下溪流蜿蜒，屋舍隐于苍松翠柏间，岸边亭台小巧，林木错落有致，一派静谧的山居气象。画家运用积墨与破墨技法，墨色层次丰富，线条刚柔相济，既承传统山水的笔墨精髓，又融入个人对自然的深刻体悟，画面气韵生动，于苍莽中见清幽，引人步入林泉之境，心生向往。",[24,30,118,114,116,1705,7,243,206,9387,21346,23],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4686603adc4b2ff54977912a749d19c.jpg",[124],"c2beb2",{"id":21351,"slug":21352,"title":13923,"dynasty":133,"author":4417,"museum":167,"description":5025,"tags":21353,"thumbUrl":21354,"material":303,"size":21355,"collection":179,"collections":21356,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},290056,"qiu-shan-xing-lv-tu-wang-yuan-290056",[24,152,25,202,114,30,205,61,90,426,7,244,156,64,119,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49dc5b3e0ed601d4c95f7accbb93912c.jpg","96.1x28.2",[],20,{"id":21359,"slug":21360,"title":21361,"dynasty":18,"author":1792,"museum":459,"description":12431,"tags":21362,"thumbUrl":21364,"material":808,"size":809,"collection":179,"collections":21365,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},289927,"lian-tang-fan-zhou-tu-wang-shen-289927","莲塘泛舟图",[24,2895,30,61,115,62,7,21363,28,17494],"莲塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60ccd97f3b4dd44819a274b62a0272d.jpg",[],{"id":21367,"slug":21368,"title":21369,"dynasty":18,"author":17791,"museum":459,"description":21370,"tags":21371,"thumbUrl":21372,"material":808,"size":809,"collection":179,"collections":21373,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},289656,"jiang-ting-wan-tiao-tu-zhu-guang-pu-289656","江亭晚眺图","[宋]字东美，汴（今河南开封）人。南渡（一一二七）补入画院。",[2895,24,475,116,115,7,504,4848,63,114,28,10585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bc08ea9cd11e3633b5ffd65194ddc0.jpg",[],{"id":21375,"slug":21376,"title":21377,"dynasty":18,"author":944,"museum":459,"description":12423,"tags":21378,"thumbUrl":21379,"material":808,"size":809,"collection":179,"collections":21380,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},289451,"cheng-jiang-bi-xiu-tu-zhao-bo-ju-289451","澄江碧岫图",[24,152,2895,30,4879,726,243,7,28,27,10585,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0425698f92ed84c5738bd73d1af16597.jpg",[],{"id":21382,"slug":21383,"title":21384,"dynasty":54,"author":13169,"museum":459,"description":13170,"tags":21385,"thumbUrl":21387,"material":808,"size":809,"collection":179,"collections":21388,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},288979,"fan-zhou-tu-song-xu-288979","泛舟图",[152,24,25,202,30,114,115,64,117,7,62,21386],"泛舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acd0a16d539dadc882adc0aa5fddf9e.jpg",[],{"id":21390,"slug":21391,"title":21392,"dynasty":18,"author":14475,"museum":459,"description":14476,"tags":21393,"thumbUrl":21395,"material":808,"size":809,"collection":179,"collections":21396,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColo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画风近 黄公望。 自题“已丑(1 649)夏五月， 画似跨千老盟兄， 时余游豫，不觉笔下有离别之气，瑞识。” 汪之瑞，生卒年不详，清初画家。字无瑞，休宁(今属安徽)人。初从同邑李永昌学画。工书，擅山水。悬肘中锋，运用渴笔焦墨，多作披麻、荷叶皴，盖为其家乡黄山山石之皴斫也。爱作背面山，兴至落笔，如风雨骤至，顷刻数纸。与弘仁、孙逸、查士标，为新安派四大家(即海阳四家)。传世作品有《为跨千写山水图》、《虚亭诗意图》、《溪亭纳秋图》。",[24,30,114,118,202,63,117,579,7,2113,37,206,245,21479,153,21480,228],"书法题跋","枯笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[124,103],{"id":21485,"slug":21486,"title":21487,"dynasty":54,"author":11727,"museum":20,"description":21488,"tags":21489,"thumbUrl":21490,"material":360,"size":179,"collection":331,"collections":21491,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},236274,"jiang-shang-qi-shu-juan-yao-shou-236274","江上七树卷","姚绶（1422—1495），明早中期画家。字公绶，号丹丘生，又号谷庵子、谷庵、仙痴、云东逸史，浙江嘉兴府嘉善县大云寺人。少有才名，专攻古文辞，诗赋茂畅。天顺中赐进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。姚绶工行草书，初学宋克，后法魏晋钟繇、王羲之，劲婉咸妙。出入钟、王而别具拙朴风神，风格近张雨。擅画山水，宗吴镇，也取法赵孟、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》、《云东集》、《天人合旨》、《姚御史诗文》。小景好作沙坳小曲，孤钓独吟，其阔幅重林远瀍，著四五渔船而已。图成或售于人，遂厚价返收之，其自重如此。与杜琼、刘珏、谢缙等明代早期文人画家，都承继了元四家衣钵，为明代中期吴门派的勃兴，起到了承前启后的作用，是吴门派的前期画家。\n姚绶得吴仲圭、盛子昭二家法，苍厚敦穆，简拙之中别具秀润，自是文人逸格。复参赵孟、王蒙笔意，皴染圆厚，书卷气极浓。姚绶曾画竹自云：“画竹如写字，枝叶皆从八法来，苦苦欲求形似者，清风安得扫尘埃”姚绶竹石题材的作品多以吴镇为宗。画竹一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔，姚绶早年书法宗宋克，中年后以张雨为宗，又致力于赵孟俯，黄庭坚，最终合张、黄、赵三家为一体，所以竹叶有其书法体态上的奇宕多姿，清逸而又雄迈的韵味。姚绶此类相近的竹石题材作品如：台北故宫藏《竹石图》，与北京故宫藏《竹石图》可窥其精华一二。",[152,24,25,26,114,118,7,579,3374,6454,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F171927c81b7c87363f9a4fca9993c187.jpg",[331,103,1822],{"id":21493,"slug":21494,"title":21495,"dynasty":223,"author":8347,"museum":459,"description":8348,"tags":21496,"thumbUrl":21497,"material":179,"size":179,"collection":124,"collections":21498,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},236109,"lin-xia-xie-qiong-zhou-zhang-zong-cang-236109","林下携笻轴",[24,28,118,202,30,7,244,204,35,1044,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10702bba88bf4e3f313034683d3f21bd.jpg",[124,103],{"id":21500,"slug":21501,"title":3724,"dynasty":223,"author":381,"museum":459,"description":21502,"tags":21503,"thumbUrl":21504,"material":179,"size":179,"collection":179,"collections":21505,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},235880,"yuan-ji-shan-shui-tu-ce-shi-tao-235880","行书笔致纵逸苍劲，诗文清雅隽秀，墨色浓淡辗转间笔势连贯舒展，尽显随性放达的文人意趣。\n\n下方山水以淡墨晕染铺就烟岚轻笼的悠远底色，山峦以枯笔皴擦勾勒肌理，植被点染灵动错落。留白虚实相生，铺陈出丘林幽寂的空濛意境，淡赭晕染山脚，糅合出清雅温润的色调层次，将江南山水的氤氲柔婉与嶙峋风骨相融。\n\n整幅诗画合璧，书意与画韵彼此衬映，诗书画印相得益彰，尽显文人画雅致品格，把幽居林泉的隐逸心境藏于笔墨之中，意韵悠长。",[24,25,385,120,114,28,118,119,153,30,243,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f749a49e7b8c667c20c3c60e27a09e8.jpg",[],{"id":21507,"slug":21508,"title":3724,"dynasty":223,"author":381,"museum":459,"description":21509,"tags":21510,"thumbUrl":21511,"material":179,"size":179,"collection":179,"collections":21512,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},235879,"yuan-ji-shan-shui-tu-ce-shi-tao-235879","这幅册页诗画合璧，行书题诗萧散俊逸，笔墨间自带林下幽居的清寂意趣。\n\n山水取景奇崛苍润，危崖拔地而起，飞泉挂壁落于溪涧，苍松杂木错落生姿，山居隐于林间烟岚之中，淡墨轻皴写尽丘壑之态。笔底兼具黄山奇峭风神，又融禅意隐逸之思，以简驭繁，将诗中静伴秋雨、枯禅幽栖的心境，铺陈在咫尺画卷里。\n诗境衬着画境，画境晕染诗心，淡远空灵的气韵漫溢纸面，尽显文人画诗画交融的雅致风神。",[24,25,385,120,114,30,289,7,153,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b855edfdb93578bdd513ec9b3f934a.jpg",[],{"id":21514,"slug":21515,"title":21516,"dynasty":54,"author":434,"museum":459,"description":21517,"tags":21518,"thumbUrl":21519,"material":179,"size":179,"collection":179,"collections":21520,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},235841,"lu-zhi-tian-ping-shan-tu-ye-yi-ming-235841","陆治天平山图页","此作左文右图，诗画合璧。右侧绘层岩峻耸，浅绛设色清润柔和，山石勾勒苍秀兼具，山脚水陂萦回，隐见村舍错落其间，远山晕染朦胧杳霭，尽显江南丘壑灵秀清旷之意。远景山峦淡抹轻皴，近景林木屋舍细致清雅，于工写之间晕染出山林幽寂野趣。\n左侧行书题跋笔意舒展流畅，以文述景，将山川形胜娓娓铺陈，把实景奇崛与人文底蕴融于一卷，笔墨间晕开清雅意趣，将江南名山的形神与文人情思相融，淡远空灵，古意悠然。",[24,25,385,28,30,341,1473,7,64,116,119,120,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31993646a95510e802b9f5b7f7282af.jpg",[],{"id":21522,"slug":21523,"title":21524,"dynasty":54,"author":434,"museum":459,"description":21525,"tags":21526,"thumbUrl":21528,"material":179,"size":179,"collection":179,"collections":21529,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},235814,"cui-zi-zhong-cang-yun-tu-zhou-yi-ming-235814","崔子忠藏云图轴","此作用全景式构图铺展意境，上段危峰怪石奇崛冷峻，淡墨晕染出空濛云雾，衬出山岫灵秀幽邃。中段留白托举云气，枯林萧疏愈显山野寂寥。下段辎车缓行于山径，长者安坐、侍童相随，人物意态简雅生动，车马细节入微。\n左上题诗与画意相融，水墨皴染结合，笔意清劲古雅，将藏云林泉的幽居雅兴，与静穆高古的山水意境合二为一，尽显文人避世寻幽的审美意趣。",[152,24,25,202,28,118,61,30,7,117,21527],"车辆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc9720526c0678b1bafbcaf3a821ab4.jpg",[],{"id":21531,"slug":21532,"title":21533,"dynasty":223,"author":3937,"museum":459,"description":3938,"tags":21534,"thumbUrl":21535,"material":808,"size":809,"collection":179,"collections":21536,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},235788,"hong-ren-nan-gang-qing-yun-tu-shan-ye-hong-ren-235788","弘仁南冈清韵图扇页",[24,25,2895,114,30,117,7,35,118,153,119],"http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，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,24,25,202,114,28,29,118,30,61,7,994,540,35,32,117,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":21641,"slug":21642,"title":599,"dynasty":18,"author":239,"museum":167,"description":21643,"tags":21644,"thumbUrl":21645,"material":179,"size":179,"collection":179,"collections":21646,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},230967,"shan-shui-tu-guo-xi-230967","此作以寒林雪霁铺陈意境，枯木老枝虬曲如铁，雪覆苍崖尽染萧寒之气。江间扁舟泊于寒波之上，舟中旅人围坐，将天地荒寒与人间暖意轻轻揉合。\n笔意苍润兼具，山石以卷云皴勾勒皴擦，留白尽显积雪厚重。枝桠以蟹爪笔法写就，枯涩清奇尽展冬日况味。半边取景铺陈开江天空寂辽远，于极简尺幅中藏着深挚诗意，将江湖旅人身处荒寒的幽微心绪淡淡晕开，静穆里揉着暖融烟火气，尽显寄情山水的雅致意趣。",[23,24,25,30,118,114,28,385,115,579,117,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685346f5eec9d79ffa2c528fdca60dc9.jpg",[],{"id":21648,"slug":21649,"title":21650,"dynasty":3235,"author":757,"museum":459,"description":21651,"tags":21652,"thumbUrl":21653,"material":179,"size":179,"collection":179,"collections":21654,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},230484,"chang-hen-ge-tu-juan-shi-qi-shi-ji-shang-juan-shou-ye-shan-xue-230484","长恨歌图卷十七世纪（上卷）","这卷长卷以工笔重彩铺展离乱行旅，移步换景间复刻出千乘万骑西南行的史诗场面。从宫阙启銮到盘山栈道，扈从仪仗连绵逶迤，宫眷臣僚的形貌衣冠分毫毕现，屋宇建制严整合度，山石皴染带着苍劲古意。\n\n设色雅致清淡，细腻笔触里藏着仓皇离京的沉郁悲戚，将长诗里的恸惋具象为视觉图景。既是对唐代仪制的精细纪实，也把文学哀婉揉入疏密构图，以铺陈群像勾勒出时代恸哭，尽显古典叙事画的隽永张力。",[23,24,26,28,29,59,61,62,30,7,6783,63,676,399,1420,726,1621,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3f33a6b01bde2948c81fb1e32b14a2.jpg",[],{"id":21656,"slug":21657,"title":21658,"dynasty":223,"author":434,"museum":459,"description":21659,"tags":21660,"thumbUrl":21661,"material":808,"size":809,"collection":179,"collections":21662,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},230341,"zi-hang-zhou-xing-gong-you-xi-hu-dao-li-tu-shuo-yi-ming-230341","自杭州行宫游西湖道里图说","以淡赭晕开烟水，用青绿点染丘峦，将舆图的实用意趣融在山水画卷之中。黄线牵起驿路，串起沿线错落的村舍亭台，标注清晰明了，既是游湖道里的详实指引，亦是江南烟景的诗意描摹。\n它跳出枯燥的测绘范式，以文人山水的笔致铺陈湖山乡野，层叠的浅山、漾开的水色晕染出江南灵秀温婉的气韵，让行路的日常图景，化作一卷可赏可游的丹青小品，雅俗共赏，尽显江南风物的清润雅致。",[24,28,29,118,26,30,62,63,64,426,116,7,35,74,33,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],{"id":21664,"slug":21665,"title":21666,"dynasty":223,"author":9866,"museum":459,"description":21667,"tags":21668,"thumbUrl":21669,"material":179,"size":179,"collection":179,"collections":21670,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},230275,"shan-shui-ce-12-fu-zhu-da-230275","山水册12幅","此作用笔枯淡老辣，以焦墨勾勒皴擦山石轮廓，删繁就简，褪去繁杂修饰，只留山水神骨。萧疏古木枝桠奇崛扭曲，带着孤傲冷逸的姿态，山居错落隐于林麓之间，藏着幽僻野趣。\n\n画作留白开阔肆意，将天地空寂的氛围感拉满，寥寥数笔便铺展出荒寒山居的清冷意境，把遗世独立的心境融于淡墨疏林之中。笔意简远通透，以极简的水墨写意尽显空灵禅味，清冷幽寂的山水图景，尽显水墨写意的高妙格调，将孤寂澹泊的心绪藏于每一处淡笔枯墨之中。",[24,114,385,118,153,30,117,7,35,500,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21323aa743aff19ec0971a23cc6574f.jpg",[],{"id":21672,"slug":21673,"title":13484,"dynasty":223,"author":8759,"museum":459,"description":21674,"tags":21675,"thumbUrl":21676,"material":179,"size":179,"collection":179,"collections":21677,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},230211,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-230211","《乾隆皇帝洗象图》是清代画家 创作的纸本设色画，现藏于 。\n此图绘乾隆皇帝行乐生活的一个场面。\n画中乾隆扮作普贤菩萨，高坐莲座。\n侍者扮作玉女、金童及天王，分立两旁。\n几位僧侣仆人正在洗刷一头白象，准备搭上毛毡锦垫，以供“菩萨”骑用。\n画下三位僧人，一位正在清扫，另二位正在传接经书，欲呈献皇帝。\n此图设色艳丽，气氛和谐。\n此图中的弘历乾隆帝和大象占据画幅的中心主要位置，起到突出主题的作用。\n画幅上端坡行堤岸，左右两侧各有二棵苍松，尤其是左侧两棵巨松，树干粗壮，交叉曲直向上，枝叶茂密，乾隆在巨松荫下观看洗象。\n画幅下端似一片丘陵地带，山岗亘连，花草丛生，还画有二位长老。\n弘历坐在宝椅上，身着一身佛装。\n作者自识：“乾隆十五年六月臣了观鹏恭绘。\n”下钤“臣观鹏”、“恭画”二印；画面上方钤有“乾隆御览之宝”一印。\n该图取材于佛教故事，表现普贤菩萨观看诸圣徒为其坐骑白象洗刷的情景。\n乾隆皇帝受佛学大师三世章嘉活佛的影响，数十年倾心于佛学研习。\n他为了表示对佛教的信仰，不仅大建佛寺，译佛经，造法器及写经自修，而且还将自己比喻成佛教中菩萨的化身，罩上一层神秘的宗教光环。\n他命宫廷画家或画佛喇嘛，绘制了多幅他扮作菩萨的画像，此图便是其中之一。\n此图画于乾隆十五年（175年），时弘历（即乾隆帝）4岁。\n此画将乾隆喻作法力无边、救苦渡难的菩萨， 其主旨不言而喻。\n图中人物面部以西法绘成，富有写实感，具有肖像画性质。\n画法很细致，当出自供奉宫廷的意大利画家郎世宁之手。\n弘历端坐宝位上，人物造型明显大于其他人物，神态肃穆。\n面部以西洋技法，立体感较强，故从风格和水平来看，乾隆像当出自郎世宁的手笔。\n至于其他人物和景致，均为丁氏所绘制，如人物造型的今张、奇古，及屈曲颤动的线条等。\n构图也是中国传统形式。\n总体来看，此画绘制精细，色泽华丽，中西合壁。\n画面取云雾缥缈、山泉粼粼、木石山花骨秀清逸之处为背景，突出仙界气氛。\n人物衣褶皆用战笔流水描，宛转卷曲，古拙奇趣。\n人物面部用淡色晕染，富有体积感，尤其乾隆的面部，更具有写实的意味。\n研究员李湜：此图在设景布势上富于机巧，以曲水为脉，将树石、惠草连成一体，同时也将众多的人物圈聚在一起，进而突出了乾隆皇帝的主体位置。\n图中人物的衣纹勾线瘦挺颤掣，曲转顿挫，富于动感，它不仅丰富了画面的视觉效果，同时，也准确地勾勒出不同状态下人物的各种形体变化。\n全图设色艳丽，富有装饰感，带有 高贵典雅的特征。\n丁观鹏，生卒年不详，顺天（今北京）人。\n雍正时供奉内廷。\n擅画道释、人物和山水，画学同宗丁云鹏，有出蓝之誉。\n画风工整细致。\n传世作品有《仿顾恺之洛神图》《弘历洗象图》《乞巧图》。",[23,24,25,202,29,28,61,1855,5991,4537,30,7,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa997e0e055cd600a62b3aec5fc5facab.jpg",[],{"id":21679,"slug":21680,"title":21681,"dynasty":223,"author":3836,"museum":459,"description":21682,"tags":21683,"thumbUrl":21684,"material":179,"size":179,"collection":179,"collections":21685,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},230169,"shan-shui-shi-er-kai-hua-ce-hua-yan-230169","山水十二开画册","此作青绿设色清润雅致，山石以皴染晕开，糅合苍劲与秀润。古松虬枝横斜，蟠曲苍劲，松针攒簇尽显古拙生机。飞瀑层叠跌落，汇入山下溪涧，浅滩空舟系岸，不见钓者，愈衬出秋山清寂。\n\n右上角题诗与画境相契，以白鸥、钓舟点出幽居隐逸的闲趣。诗画交融，将秋日溪山的萧疏淡远，和寄情林泉的雅意融为一体，笔底兼具文人画的简淡诗意与灵动生气，无繁复堆砌，尽是悠然出世的林下之风，观之令人沉静忘俗。",[152,24,25,385,114,27,28,30,540,117,7,64,63,115,1621,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa515902d2b222c91f48162a7d0369c12.jpg",[],{"id":21687,"slug":21688,"title":13731,"dynasty":223,"author":10363,"museum":459,"description":21689,"tags":21690,"thumbUrl":21691,"material":179,"size":179,"collection":179,"collections":21692,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},230113,"shan-shui-ce-ye-xi-gang-230113","此作用淡墨晕染铺就底色，山峦以枯笔皴擦勾勒嶙峋肌理，留白衬出山涧飞瀑，似能闻声泠泠。坡岸杂木错落，虬曲与挺拔相映，淡墨点叶疏密有致，尽染清秋疏朗况味。\n\n左侧茅舍临水幽居，隔绝尘嚣；右侧板桥孤悬，更衬林泉静寂。右上角题字清雅，与山水意境相融，满溢文人书卷之气。\n\n整幅以简淡为骨，笔意松秀空灵，不事浓丽雕琢，将出世幽居之思寄于萧散山光水色，以笔墨写心，尽显静穆淡远的林下之风，藏着文人心底的丘壑。",[24,25,385,114,118,30,117,7,204,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba38e7a5a03f2ceeed631fcab0deec5.jpg",[],{"id":21694,"slug":21695,"title":21696,"dynasty":223,"author":21697,"museum":459,"description":21698,"tags":21699,"thumbUrl":21700,"material":179,"size":179,"collection":179,"collections":21701,"showCount":21357,"zanCount":928,"manualWeight":48,"mainColor":128},228971,"shan-shui-ce-ye-4-kai-ji-yun-228971","山水册页4开","纪昀","层岩如篆，方折奇崛，烟岚柔漫缠绕崖谷，虚实相生间划分出山林层次。半山幽轩凭岩而起，飞桥悬于流泉之上，山麓水榭凌波，扁舟静系矶头，屋舍藏于林泉深幽处，尽显幽居雅趣。\n\n笔墨刚柔相济，干笔硬挺勾勒方整岩块，皴写出山石苍劲质感，轻敷淡晕出空蒙烟岚。整幅取景清寂，将林下栖居的悠然意趣藏于山重水复之间，淡墨轻岚里晕染出简澹清远的文人意境，把林泉高致的隐逸情怀融于尺幅之中。",[23,24,25,385,114,118,30,62,116,115,117,7,37,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfb35ed9c8dbdfc3887c3b0034f1efa.jpg",[],{"id":21703,"slug":21704,"title":21705,"dynasty":54,"author":2636,"museum":459,"description":19847,"tags":21706,"thumbUrl":21707,"material":808,"size":809,"collection":179,"collections":21708,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开",[23,24,25,2895,28,114,30,540,35,61,386,7,117,502,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],{"id":21710,"slug":21711,"title":21712,"dynasty":54,"author":3582,"museum":459,"description":21713,"tags":21714,"thumbUrl":21715,"material":179,"size":179,"collection":179,"collections":21716,"showCount":21357,"zanCount":928,"manualWeight":48,"mainColor":49},228280,"wu-xie-shan-tu-zhou-chen-hong-shou-228280","五泄山图轴","《五泄山志》是《五泄山志》编纂委员会编纂的地方志。\n本志记述范围，重点是五泄风景主景区9．5平方公里，以在建景区5平方公里为环界。\n有些必要涉及的人、物、事件，记述范围为传统意义上的整个五泄区域内。\n记述年代，上限不定，下限至2年，个别事件延伸到成稿之时。\n封面 五泄山志 《五泄山志》编纂委员会顾问 《五泄山志》编纂委员会 《五泄山志》编纂室 图片 江泽民与夏征农亲切握手 尉健行视察五泄 俞正声视察五泄 张德江视察五泄 曾培炎视察五泄 五泄导游图 绿树掩清溪 五泄水上森林公园 五泄东龙湫 夹岩烟雨 五泄东湫阁 白鹤临湖 五泄春来早 春在溪头 西源——绿色氧吧 银杏秋韵 江南罕见楠木林 画舫迎客 空气洁净蓝天白云 溪水悠悠 西源步幽亭 灵默真身塔 五泄禅寺 唐·灵默舍利子宝瓶 南北朝砖雕观音 果实(种子)化石 五泄古石器 灵默禅师舍利子 古寺玉兰 山龟 水濑 穿山甲 鸳鸯 眼镜蛇 花蝶 金钱豹 山鸡 蝶恋石蒜花 编纂人员合影 荣誉 陈洪绶《五泄图轴》 五泄山水甲天下 附图 序 《五泄山志》编辑凡例 概述 大事记 目录 第一篇 地理环境 第一章 自然地理 第一节 地理位置 第二节 地理面积 第三节 地理交通 第二章 地质地形 第一节 地质地层 第二节 风景地貌 第三节 土壤 第四节 地形成因 第三章 水文 第一节 水系 第二节 水文测量 第三节 雨量 第四节 经流量、水位 第五节 水质供水量 第四章 旅游气象 第一节 温度和日照 第二节 雨日和概率 第三节 雾和风 第四节 霜和雪 第二篇 自然资源 第五章 植物 第一节 木本植物 第二节 草本药物 第三节 古树名木 第六章 动物 第一节 哺乳纲(兽类) 第二节 鸟纲(禽类) 第三节 爬行纲 第四节 两栖、鱼纲 第五节 昆虫纲 第六节 其它类 第七章 土特产 第一节 土纸 第二节 茶叶 第三节 竹笋 第四节 干鲜果 第三篇 景区沿革 第八章 五泄畈村 第一节 姓氏由来 第二节 群落区划 第三节 移民外迁 第九章 五泄林场 第一节 历史演变 第二节 森林培育 第三节 森林管护 第四节 经营规划 第十章 五泄水库(五泄湖) 第一节 历史背景 第二节 建库经过 第三节 工程规模 第四节 工程效益 第五节 大坝除险加固 第六节 管理体制 第四篇 景区开发 第十一章 县级景区 第一节 项目提出 第二节 组织调查 第三节 确定建设 第四节 合力开发 第五节 首期规划 第六节 开通观瀑通道 第十二章 省级景区 第一节 实地调查 第二节 科学考察 第三节 组织考察 第三节 总体规划 第四节 批准省级景区 第十三章 国家重点风景名胜区 第一节 申报 第二节 创建 第三节 考察与评估 第四节 总体规划 第五篇 风景名胜 第十四章 平湖揽胜 第一节 紫藤长廊 第二节 坝顶揽胜 第三节 平湖泛舟 第四节 湖上观峰 第五节 湖后景观 第十五章 五级飞瀑 第一节 蛟龙出海 第二节 烈马奔腾 第三节 诸态备出 第四节 珠濂飘洒 第五节 隽永奇巧 第十六章 西源探幽 第一节 幽谷 第二节 奇峰 第三节 险崖 第四节 怪石 第五节 清溪碧潭 第六节 朱林 第七节 趣桥 第八节 紫微岭 第九节 刘龙坪 第十七章 开发中的景点 第一节 青口 第二节 玉京洞 第三节 遗址与沈氏宗祠 第六篇 宗教 第十八章 沿革 第一节 历史变迁 第二节 日寇罪迹 第三节 兴衰历程 第十九章 高僧 第一节 灵默 第二节 藏奂 第三节 良价 第四节 正元 第五节 苏溪 第六节 贯休 第七节 茂真 第八节 智三 第九节 敏康 第十节 慈明 第二十章 五泄禅寺 第一节 地理位置 第二节 悠久历史 第三节 寺院佛像 第四节 如意宝塔 第五节 寺院特色 第二十一章 良价祖庭 第一节 曹洞圣迹 第二节 良价出师图 第三节 祖师纪念像 第四节 曹洞宗风 第二十二章 寺院藏品 第一节 灵默石棺 第二节 舍利子宝瓶 第三节 祖师白玉像 第四节 佛像、陶俑、砖雕瓦档 第五节 匾牌、碑刻、字画 第二十三章 佛教活动 第一节 建立、健全寺内规章 制度 第二节 编印五泄禅寺史迹 第三节 开展佛教文化交流 第七篇 管理 第二十四章 管理机构 第一节 行政隶属 第二节 机构沿革 第三节 五泄风景旅游管理局 第四节 公安派出所 第二十五章 现代专业管理 第一节 文物管理 第二节 防火管理 第三节 林木管理 第四节 水库管理 第五节 卫生管理 第六节 规划管理 第七节 工商管理 第八节 安全管理 第八篇 旅游 第二十六章 游览活动 第一节 名人游山 第二节 旅游线路 第三节 大型活动 第二十七章 旅游接待 第一节 五泄旅游公司 第二节 诸暨旅行社 第三节 五泄游客接待中心 第二十八章 服务设施 第一节 馆舍 第二节 交通 第三节 通讯 第四节 商店 第五节 水电 第六节 娱乐 第二十九章 名产 第一节 土特产 第二节 风味小吃 第三节 工艺品 第九篇 文学艺术 第三十章 史志典籍摘抄 第一节 专著拾英 第二节 辞书条目 第三节 史志摘录 第四节 禅史节选 第三十一章 诗词 第一节 五泄胜景(综合篇) 第二节 飞瀑奇观 第三节 西源峡谷 第四节 禅寺觅踪 第五节 平湖掠影 第六节 歌曲 第七节 外围(规划)景点拾零 第三十二章 散记 第一节 游踪散记 第二节 游记纵揽 第三节 开发纪实 第三十三章 石刻联额 第一节 摩崖石刻 第二节 匾额楹联 第三节 书画墨宝 附：编余文化 第三十四章 民间传说 第一节 神话传说 第二节 民间故事 第三节 佚事旧闻 附：本志编辑参考书目 后记 版权页",[23,24,25,202,114,118,30,117,7,243,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4a8237865cb94c15e5ec9b1b99a949.jpg",[],{"id":21718,"slug":21719,"title":21720,"dynasty":133,"author":4150,"museum":459,"description":21721,"tags":21722,"thumbUrl":21723,"material":179,"size":179,"collection":179,"collections":21724,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},228053,"bai-miao-jie-bo-tu-juan-wang-zhen-peng-228053","白描揭钵图卷","此作用纯白描演绎佛教故事，铁线描劲挺匀细如游丝盘桓。画面中众天魔女施百般神通、力士悍然围护，围绕钵盂拉扯对抗，将救子的焦灼与护法的沉凝刻画尽致，人物神态各殊，动静对冲间戏剧张力拉满。布景简淡清逸，衬出道释故事的庄严氛围感。卷后长题跋笔意跌宕，书画合璧，尽显此作的极致造诣，将宗教叙事与笔墨意趣完美融合，是白描人物画的典范之作。",[23,152,24,25,26,437,29,923,61,1855,7,117,3315,1420,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee76ff91c7c036c27dda83ba2b0fe54.jpg",[],{"id":21726,"slug":21727,"title":21728,"dynasty":18,"author":10765,"museum":459,"description":21729,"tags":21730,"thumbUrl":21732,"material":179,"size":179,"collection":179,"collections":21733,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},227755,"jiang-di-fang-mu-tu-yan-ci-ping-227755","江堤放牧图","《四季牧牛图》是南宋画家阎次平创作的绢本浅设色画，现藏于南京博物院。\n\n此画共四幅。春牧绘春野柳坡，细草如茵，一童牧二牛于其间。夏牧绘高树浓荫，芦池夏草，二童跨牛浮水而渡。秋牧绘霜叶满地，幼犊依偎于牝牛，牡牛缓步于傍，牝牛坐弄蟾蜍。冬牧绘雪地残草，寒风呼号，牧童牵牛而归。全图画树木用笔粗简，画牛则精细勾描，人物尤为生动。",[23,24,25,2895,28,30,118,29,91,19365,7,500,289,64,21731],"放牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a261f44b092c6d8d8542f432afd33d.jpg",[],{"id":21735,"slug":21736,"title":21737,"dynasty":18,"author":10765,"museum":459,"description":21738,"tags":21739,"thumbUrl":21740,"material":179,"size":179,"collection":179,"collections":21741,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},227754,"song-deng-jing-lu-tu-yan-ci-ping-227754","松磴精庐图","《宋阎次平松磴精庐图》是宋代阎次平所创的扇面图。\n\n石矶满布的江畔山岩，长松横斜，密竹丛生。一座典雅的精舍（或书院），紧密地镶嵌在这青山绿水之间。小径由岸边蜿蜒而上，岬角处两张圆石小凳闲置于松下，风景优美而宁静。",[23,24,25,2895,28,30,118,153,540,62,115,117,7,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb29b476fe0467fa83caa5ca6d6b7ba.jpg",[],{"id":21743,"slug":21744,"title":16654,"dynasty":18,"author":239,"museum":459,"description":21745,"tags":21746,"thumbUrl":21747,"material":179,"size":179,"collection":179,"collections":21748,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},227542,"qiu-shan-ce-zhang-tu-guo-xi-227542","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。 他画山水注重深入体察生活，能真实、细致、微妙地表现出不同地区、季节、气候的特点，得“远近浅深，四时朝暮，风雨明晦之不同”，创造出极其丰富优美动人的意境，另外他还长于影塑，在墙壁上用泥堆塑浮雕式的山水，别具情趣。\n\n郭熙有《早春图》《关山春雪图》《窠石平远图》《幽谷图》《古木遥山图》等传世。其中《早春图》成功地表现出冬去春来、大地复苏、万物甦醒的细致季节变化。在绘画理论上郭熙亦有很高建树，其理论集中反映在他的《林泉高致》一书中。",[23,24,2895,30,61,7,64,117,118,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F301e81485e068c4f080628a129182f75.jpg",[],{"id":21750,"slug":21751,"title":21752,"dynasty":3235,"author":13866,"museum":459,"description":21753,"tags":21754,"thumbUrl":21755,"material":179,"size":179,"collection":179,"collections":21756,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},226652,"qiu-dong-shan-shui-tu-er-qiu-jing-xue-zhou-226652","秋冬山水图二（秋景）","雪舟等杨是日本绘画史上“汉画派”的开创者和集大成者，他的绘画代表着日本汉画的最高成就，他所处的时代是汉画的全盛期。雪舟等杨，12岁入相国寺为僧，热衷于绘画，曾师从日本的山水画大师学习绘画，兼容并蓄临摹了大量的中国宋元的水墨画样式。为了探究中国画之真谛，1467年，他作为画僧随日本遣明使节来到中国，历览中国名山大川，创作了大量的山水画，并向各方绘画大师交流绘画技艺。他领悟到中国画的根源在于中国的自然风物，中国的自然风物是最好的老师。",[23,24,25,114,202,30,62,115,117,64,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62940e9c2c67e15be413e65dd353aee4.jpg",[],{"id":21758,"slug":21759,"title":21760,"dynasty":223,"author":17274,"museum":459,"description":17321,"tags":21761,"thumbUrl":21762,"material":179,"size":179,"collection":179,"collections":21763,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},226633,"si-shi-shan-shui-06-pu-ru-226633","四时山水06",[23,24,25,385,114,118,30,31,7,244,64,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a07a1da90f3721a821c6ce420630cd0.jpg",[],{"id":21765,"slug":21766,"title":21767,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":21768,"thumbUrl":21769,"material":808,"size":809,"collection":3244,"collections":21770,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},226077,"the-iris-garden-at-giverny-1899-1900-mo-nai-226077","The Iris Garden at Giverny, 1899-1900",[7526,3239,13902,8252,7,502,1621,2725,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e8a5d135301cb3766f578cad93232a.jpg",[3244],{"id":21772,"slug":21773,"title":21774,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":21775,"thumbUrl":21777,"material":808,"size":809,"collection":3244,"collections":21778,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},226011,"regatta-at-argenteuil-1872-mo-nai-226011","Regatta at Argenteuil, 1872",[7526,3239,1288,1290,9085,35,7,411,61,5404,21776,1390,7527,7661],"红屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48dce699643e52336f1f3c03f6f79c9.jpg",[3244],{"id":21780,"slug":21781,"title":21782,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":21783,"thumbUrl":21785,"material":808,"size":809,"collection":3244,"collections":21786,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":985},225963,"lete-mo-nai-225963","LEte",[3239,7526,7527,17656,7661,411,7,61,5404,3148,21784,8254,7530],"夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3debc71e3df4458856f20b475ccc6ad4.jpg",[3244],{"id":21788,"slug":21789,"title":21790,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":21791,"thumbUrl":21793,"material":808,"size":809,"collection":3244,"collections":21794,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},225735,"de-heuvel-van-montmartre-met-steengroeve-fan-gao-225735","De heuvel van Montmartre met steengroeve",[3239,3240,6957,3374,16090,35,61,624,21792,411,5404,3295,16071,19307,5405,7],"采石场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774e03ff0fe13bdf430a25b8a0496e9a.jpg",[3244],{"id":21796,"slug":21797,"title":21798,"dynasty":223,"author":434,"museum":459,"description":21799,"tags":21800,"thumbUrl":21801,"material":179,"size":179,"collection":179,"collections":21802,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},223661,"nao-long-zhou-yi-ming-223661","闹龙州","这幅工笔风俗画以春日江畔为底色，屋舍朱黛错落，楼阁上下人头攒动，凭栏共览盛景，市井烟火扑面而来。水面之上龙舟劈波竞渡，旌旗招展，健儿合力挥桨，浪涛随舟翻涌，喧腾的节庆氛围满溢卷间。\n\n远处山峦逶迤浅黛，汀渚桃杏初绽，柔化了喧闹的底色，晕开融融春意。整作设色雅致明丽，工笔细腻入微，将官民同观竞渡的鲜活民俗盛景定格，于细节处铺陈清代市井百态，尽显院体风俗画的写实功力，把春日水乡的温婉与节庆的喧腾完美相融。",[23,152,24,25,26,29,28,59,30,62,61,726,154,116,36,35,70,1420,173,117,32,760,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53fe0824f719b89c17c45135e87db139.jpg",[],{"id":21804,"slug":21805,"title":21806,"dynasty":223,"author":858,"museum":514,"description":859,"tags":21807,"thumbUrl":21808,"material":140,"size":869,"collection":179,"collections":21809,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},223042,"hong-lou-meng-167-sun-wen-223042","红楼梦167",[23,24,29,28,61,62,63,116,30,7,70,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3aabc155038cf6916dca7447d819276.jpg",[],{"id":21811,"slug":21812,"title":21813,"dynasty":223,"author":858,"museum":514,"description":859,"tags":21814,"thumbUrl":21816,"material":140,"size":869,"collection":179,"collections":21817,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},223015,"hong-lou-meng-140-sun-wen-223015","红楼梦140",[23,29,28,59,61,62,70,7,117,17370,2938,21815,2162],"园林植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac5f307a3ae0eebbd81017bc0a99f1e.jpg",[],{"id":21819,"slug":21820,"title":21821,"dynasty":223,"author":858,"museum":514,"description":859,"tags":21822,"thumbUrl":21824,"material":140,"size":869,"collection":179,"collections":21825,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},223002,"hong-lou-meng-127-sun-wen-223002","红楼梦127",[23,152,24,25,29,28,61,62,1665,117,7,1313,70,2857,8253,21823],"工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65073529e1df02d44b96a2c97cf655a5.jpg",[],{"id":21827,"slug":21828,"title":21829,"dynasty":223,"author":858,"museum":514,"description":859,"tags":21830,"thumbUrl":21831,"material":140,"size":869,"collection":179,"collections":21832,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},223001,"hong-lou-meng-126-sun-wen-223001","红楼梦126",[23,24,29,28,61,62,70,90,7,117,2450,76,1344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b13ad24e28e97ce783e59e98b9d8cf7.jpg",[],{"id":21834,"slug":21835,"title":21836,"dynasty":223,"author":858,"museum":514,"description":859,"tags":21837,"thumbUrl":21838,"material":140,"size":869,"collection":179,"collections":21839,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},222995,"hong-lou-meng-120-sun-wen-222995","红楼梦120",[23,152,24,25,26,29,28,61,62,70,117,7,170,11307,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2bd87b1e071819f65016754b77cc305.jpg",[],{"id":21841,"slug":21842,"title":21843,"dynasty":223,"author":858,"museum":514,"description":859,"tags":21844,"thumbUrl":21845,"material":140,"size":869,"collection":179,"collections":21846,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},222975,"hong-lou-meng-100-sun-wen-222975","红楼梦100",[23,24,29,28,61,63,64,62,7,117,170,30,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc02cea595cc9e460aa38cbb1a814dd9e.jpg",[],{"id":21848,"slug":21849,"title":21850,"dynasty":223,"author":858,"museum":514,"description":859,"tags":21851,"thumbUrl":21854,"material":140,"size":869,"collection":179,"collections":21855,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":49},222963,"hong-lou-meng-88-sun-wen-222963","红楼梦88",[23,24,29,28,5957,4310,170,273,30,19936,7,269,21852,694,21853],"楼台","红楼梦情节","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81dd96b93bcf696156383a370be35d1.jpg",[],{"id":21857,"slug":21858,"title":21859,"dynasty":223,"author":858,"museum":514,"description":859,"tags":21860,"thumbUrl":21863,"material":140,"size":869,"collection":179,"collections":21864,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},222961,"hong-lou-meng-86-sun-wen-222961","红楼梦86",[23,29,28,59,30,62,63,61,170,818,173,1313,21861,7,154,69,994,2857,117,70,7131,21862],"伞","细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face67c130a7ac403f4b975c7af2da2cf.jpg",[],{"id":21866,"slug":21867,"title":14948,"dynasty":223,"author":1431,"museum":459,"description":14949,"tags":21868,"thumbUrl":21869,"material":936,"size":14952,"collection":179,"collections":21870,"showCount":21357,"zanCount":48,"manualWeight":48,"mainColor":128},222624,"shan-shui-shan-mian-4-gong-xian-222624",[23,24,114,30,2895,118,7,117,63,4075],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb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ctions":22043,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},290513,"shen-liu-du-shu-tang-tu-wang-su-290513","深柳读书堂图","王愫","王愫 清 字存素，号林屋，一号朴庐，江苏太仓诸生，侨居苏州。原祁侄。山水乾墨重笔不加渲染，得元人简澹法。",[23,24,25,28,27,30,116,7,61,153,119,17494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2682a6cf5351bd32976b04d9134f98d.jpg",[],{"id":22045,"slug":22046,"title":22047,"dynasty":18,"author":10765,"museum":167,"description":22048,"tags":22049,"thumbUrl":22050,"material":78,"size":22051,"collection":42,"collections":22052,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":49},290332,"si-le-tu-zhou-yan-ci-ping-290332","四乐图轴","《四乐图》是意欲写“渔、樵、耕、读”四乐。但图中唯不见有樵乐也，此图中有山岩嶙峋，必有溪水蓄成池塘，溪水盈盈，水中有鱼，渔夫作业，其一乐也。两山相间中望见平原村落，必有耕田在其间，耕者有田，这是农者乐也。在山前树后的池塘中，有一块土丘地，筑有屋宇水阁，临溪水阁，环境幽雅，空气清新，阁中有童子在朗朗读书，又为读者乐也。可在画面上见到渔夫摇橹张网捕鱼，农夫牵着耕牛在塘堤上行走去田间，也能见到水阁童子在堂中就渎，但却见不到樵者的行踪。一是樵夫要上山砍柴，由于岩石方硬齐整，无山路可走；二是大树参天，绿树成荫，不是樵夫乐业的对象。因此，渭图中唯樵者不见表现，在画面上是山绿水盈，树木成林，风调雨顺，谷物满仓，百业兴旺，自然景色的优美，想必樵者的一乐，也许就在其中了。",[152,24,25,202,30,118,62,7,64,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d0a7fa1db99cdbb630adb392c8e5a8.jpg","192.6x97.2",[42],{"id":22054,"slug":22055,"title":6479,"dynasty":223,"author":472,"museum":459,"description":12645,"tags":22056,"thumbUrl":22057,"material":808,"size":809,"collection":179,"collections":22058,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},289952,"shan-shui-tu-zhou-wang-shi-min-289952",[23,152,24,25,202,114,30,118,243,7,35,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb2b1a39c23b566193185dba66f4bab.jpg",[],{"id":22060,"slug":22061,"title":22062,"dynasty":223,"author":4335,"museum":459,"description":22063,"tags":22064,"thumbUrl":22065,"material":808,"size":809,"collection":179,"collections":22066,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},289934,"shan-shui-fang-gu-ce-cha-shi-biao-289934","山水仿古册","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,385,114,30,63,64,7,62,243,818,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2c0f7225f99710e188a3268bdc2775.jpg",[],{"id":22068,"slug":22069,"title":22070,"dynasty":54,"author":801,"museum":459,"description":8042,"tags":22071,"thumbUrl":22072,"material":808,"size":809,"collection":179,"collections":22073,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},287518,"hua-shan-tu-zhou-tang-yin-287518","华山图轴",[23,24,25,202,30,114,28,118,5357,64,204,62,117,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319ea38f2626b03e03ba78a2222a254b.jpg",[],{"id":22075,"slug":22076,"title":22077,"dynasty":223,"author":434,"museum":459,"description":22078,"tags":22079,"thumbUrl":22082,"material":808,"size":809,"collection":179,"collections":22083,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":6966},273003,"zi-tan-bian-fa-lang-gua-ping-yi-ming-273003","紫檀边珐琅挂屏","金地为底，珐琅釉色晕染出青绿山峦，层叠起伏间皴笔有致，翠色鲜亮柔和。水网田垄错落交织，茅舍隐于林樾，耕牛静卧田埂，乡农驻足叙话，将春日郊野的恬然烟火铺陈眼前。\n\n边角题诗点出田家闲趣，铜饰挂钮精巧雅致，紫檀边框衬得画面愈发明丽华贵。整幅将文人诗意融于珐琅工艺，把乡野春耕的悠然意趣刻画入微，尽显雅致清和的审美意韵，方寸间凝住田园生机，是工艺与画意兼备的上乘之作。",[22080,8941,11234,27,28,30,155,22081,63,5232,61,7,119,6179],"琺瑯器","耕牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a29cfe1ff77dd9aabf7e530a98d631a.jpg",[],{"id":22085,"slug":22086,"title":16391,"dynasty":54,"author":22087,"museum":459,"description":22088,"tags":22089,"thumbUrl":22090,"material":179,"size":179,"collection":179,"collections":22091,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":49},239170,"shan-shui-shan-mian-liu-lian-239170","柳廉","此作为水墨洒金扇面，近景古木虬枝苍劲，以浓淡墨色晕染出层叠木叶，尽显蓊郁生机。树下扁舟轻泊，渔翁安坐其中，意态萧散自在。远景以淡墨晕染平岗浅峦，虚化朦胧，和近景的茂林渔舟形成虚实对照，留白暗喻水色，咫尺尺幅间铺展出悠远空寂的山水意境。\n\n笔墨简括老辣，以浓淡变化拉开空间层次，洒金底纸更添古雅质感。整体画面简淡清逸，寥寥数笔便将隐逸江湖、寄情烟水的文人野趣铺陈开来，藏着传统文人心底林泉高致的悠悠向往。",[24,25,2895,30,114,118,7,69,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9bccc077bc5f42a0d7ebb80b3963542.jpg",[],{"id":22093,"slug":22094,"title":22095,"dynasty":223,"author":11241,"museum":459,"description":22096,"tags":22097,"thumbUrl":22098,"material":179,"size":179,"collection":124,"collections":22099,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},238768,"shan-shui-ren-wu-xiao-ce-dong-gao-238768","山水人物小册","此作取半边构图造境，左畔崖岸虬松错立，丹黄枝叶点染秋韵，苍林幽泉尽纳尺幅之间。右侧留白以细劲墨线勾出水波纡徐，浅赭轻描远渚，一叶扁舟悠然凌波，以简驭繁铺展出秋水长天的空茫逸趣。笔墨清隽秀雅，皴擦柔婉不失骨力，设色轻淡明净，以少胜多，将林泉幽寂与江湖远意相融，尽显留白造境的悠然意趣，淡远萧散的林下之风跃然纸上。",[24,385,28,118,30,61,115,7,117,64,114,25,7808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647239f68b0592221cd30bfb0b9043b3.jpg",[124,45],{"id":22101,"slug":22102,"title":12168,"dynasty":54,"author":955,"museum":20,"description":22103,"tags":22104,"thumbUrl":22105,"material":40,"size":12172,"collection":124,"collections":22106,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},238079,"yan-ling-cun-tu-dong-qi-chang-238079","延陵村因有“唐人张从申碑”而具有深厚的历史人文内涵。画家以此为题，意在创造出与石碑意趣相同的“古意”。此图以鸟瞰的角度取景，描绘延陵村的整体风貌。构图内容丰富，运用山势的转折、峰峦的呼应以及烟云的空间留白营造出广阔辽远的空间，表现出延陵村的地理风貌。然而，这又不同于写实再现，画家以抒情的笔调描绘出绮丽浑厚的山峰、蓊郁奇崛的松木、晨雾中若隐若现的村舍，这正是在真实山水的基础之上的艺术加工。在笔墨的运用上，图中山石的画法是将勾勒与董、巨的披麻皴相结合，笔法精微。设色追求晋唐风韵，古雅淡泊。在此，画家将元人的笔墨情趣与唐宋人的造型、意境相结合，进而营造出平淡典雅、天真朴拙的“古意”，画中的延陵村因而显得真实而又具有悠远的意味，宁静清幽而又古趣盎然，这是董其昌所创造出的“奇景”。此外，画面上端的楷书结体端庄秀雅，墨色清旷明润，有晋唐人风度，与画面本身共同传达出一种古朴典雅的艺术气息。\n撰稿人：杨丽丽",[24,25,202,30,118,114,243,7,540,244,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc504525ce90c44b873edcd7f676754cd.jpg",[124],{"id":22108,"slug":22109,"title":22110,"dynasty":54,"author":22111,"museum":459,"description":22112,"tags":22113,"thumbUrl":22114,"material":360,"size":179,"collection":124,"collections":22115,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},237649,"yue-dai-shan-shui-tu-zhou-yue-dai-237649","岳岱山水图轴","岳岱","［明］字东伯，自称秦余山人，又号漳余子，先世以军功隶苏州衞，至其父，始好读书，辟草堂于阳山。性狷介，好游，历尽宇内名山。能诗，善画。嘉靖二十四年（一五四五）作寒林峻岭图。《苏州府志、列朝诗集小传、明画录》",[24,114,30,202,118,119,153,117,64,7,500,994],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793aa582a24781c0232ca1da41efa8e7.jpg",[124,103,1822],{"id":22117,"slug":22118,"title":22119,"dynasty":54,"author":955,"museum":459,"description":22120,"tags":22121,"thumbUrl":22122,"material":179,"size":179,"collection":1822,"collections":22123,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},237492,"zhang-gan-she-li-ge-tu-zhou-dong-qi-chang-237492","长干舍利阁图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖） 。 颇能诗文，著有《画禅室随笔》《容台文集》等。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸。\n他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。\n如《遥峰泼翠图》，整个画面不过是干远景而已，笔墨也很简单，但神韵、骨力俱足。画面的前部作一隅坡脚，缀以数块荒石。坡脚上有三株老树，交错而立。中间一株是夹叶树，稍事勾勒，却枝叶备见；旁边两株的树叶，则充分发挥泼墨的作用，左以直抹示盘曲，右以横点示傲岸，浓淡相间，一派生机。画面上部以淡墨一抹而就，远山横贯，仅见轮廓隐人天际，山体却茫茫然，仿佛烟岚萦绕，雄浑无比。作者再用浓墨在一片淡远的景色中，染出几处高低错落的树叶，远近有致，层次丰富，烟云流动，充塞渚岸。左侧绘有小坡，坡上以横墨抹出数株直树。中间汪洋大水，不施笔墨，而万顷湖面浩瀚无涯之气势跃然纸上。此图长225厘米，宽75厘米，如此大幅立轴，只寥寥地布置些近树远山，就把握住整个画面峰遥、水阔、树翠的神情。这正是董其昌巧妙地运用“王洽泼墨，李成惜墨，两家合之，乃成画诀”的结果。\n全幅似疏似漏，但没有照应不到的地方，用笔爽利遒劲，又含蓄灵秀，纯以墨色气势的润泽、醒目而动人遐思。如不是熟练地掌握“空处有画”的本领，就不会有这样高明的布局。有人认为这是董其昌从“宽能走马、密不通风”的书体结构中触悟而得，这并不是没有道理的。整幅立轴不设色，但面貌清丽，有咫尺千里之势，给人以远深宁静的感觉。\n再如他暮年所作《关山雪霁图》，山峦林壑，绵延无际。右方重峦叠嶂，气势沉雄。中间幽壑重重，峭壁矗立，村落、丛林、流泉、山径，错落有致，杂而不乱；大江曲折跌宕其间，虽有干岩万壑，亦无窒碍不通的感觉。左方云烟弥漫，浸淫树石，路遥山重，隐人微茫，深远莫测，意味不尽。图中以渴笔钩勒峰峦山石，皴擦的运用极其准确、灵活，而线条流走轻快，疏密得宜。山冈陵石的凹凸明暗，则以横点巨苔，配上淡墨直皴的层层渲染来加以完成，技巧纯熟，无懈可击。意境朴厚深邃，很有“千山鸟飞绝，万径人踪灭”的诗意。\n全图用笔老辣生拙，骨力练达，墨气鲜润，绝去甜俗，以疏旷之笔，画出凝寒淡远的景致。卷尾数行行楷跋文，书体娟秀刚劲，更使此图富有书卷气，爽朗潇洒，自具风格。正如中国当代书画家南山乐山评论董其昌的艺术特点说：董香光（董其昌）满腹经纶，故能笔清墨润，山色如洗，宁静深邃，绝无尘垢。",[24,25,202,114,118,120,30,62,7,117,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e1cb89fb263ea27a05dc148575c163.jpg",[1822],{"id":22125,"slug":22126,"title":11497,"dynasty":54,"author":4131,"museum":459,"description":22127,"tags":22128,"thumbUrl":22129,"material":179,"size":179,"collection":179,"collections":22130,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},237478,"guan-pu-tu-zhou-wen-jia-237478","此作用高远章法铺展景致，山峦以淡墨轻皴，留白晕出空濛云气，层叠峰峦间苍松虬劲挺秀。涧谷飞瀑蜿蜒穿林而下，松下幽人临流观瀑，野逸悠然。\n\n笔墨秀雅温润，以淡赭轻敷晕染山林，简淡笔触里尽显苍润质感，尽显清隽雅致的意趣。题诗与画境相融，将林泉高致的隐逸情怀藏于尺幅间，把文人寄情山水、静享丘壑的雅怀，化作可感的画面，是明代文人山水画中寓情于景的典型佳构。",[152,24,25,202,114,118,30,204,7,117,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f782bbeca3d1ae43c0ee0954efdb627.jpg",[],{"id":22132,"slug":22133,"title":22134,"dynasty":54,"author":22135,"museum":459,"description":22136,"tags":22137,"thumbUrl":22138,"material":808,"size":809,"collection":179,"collections":22139,"showCount":320,"zanCount":928,"manualWeight":48,"mainColor":1138},237458,"fang-ju-ran-shan-shui-shan-ye-yun-xiang-237458","仿巨然山水扇页","恽向","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[24,25,2895,114,118,60,30,117,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33bb82ef2826a18b206fb0142da7222.jpg",[],{"id":22141,"slug":22142,"title":22143,"dynasty":54,"author":801,"museum":459,"description":8042,"tags":22144,"thumbUrl":22145,"material":808,"size":809,"collection":179,"collections":22146,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},237363,"she-yang-tu-zhou-tang-yin-237363","射杨图轴",[24,25,202,114,437,61,289,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699dfa326d67bbf86297196d4ed32fab.jpg",[],{"id":22148,"slug":22149,"title":3901,"dynasty":223,"author":4544,"museum":20,"description":4545,"tags":22150,"thumbUrl":22151,"material":1218,"size":179,"collection":179,"collections":22152,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},237198,"shan-shui-ce-sun-yi-237198",[24,25,385,28,30,63,64,117,7,62,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F954605f0ec578727ceb27cb1524adb3d.jpg",[],{"id":22154,"slug":22155,"title":22156,"dynasty":54,"author":434,"museum":459,"description":22157,"tags":22158,"thumbUrl":22159,"material":808,"size":809,"collection":179,"collections":22160,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},236812,"wu-ling-hu-qiu-ye-yue-shan-mian-yi-ming-236812","吴令虎丘夜月扇面","此作用笔秀雅柔婉，金笺为底，以淡墨轻晕出月夜空蒙氛围。近岸坡石苍润，杂木扶疏，浅施淡赭点染秋意，林畔台榭中文士雅聚，凭栏观景，意态悠然。湖面空阔澄澈，扁舟浮于烟波间，对岸林峦隐约，山寺佛塔挺立于丘巅，古意盎然。\n构图虚实相映，以简淡笔墨铺陈出清寂悠远之境，将江南山水的秀润空灵与文人夜游的隽雅意趣相融，尽显温润静穆的文人幽怀。",[24,25,2895,28,118,30,62,7,117,64,2316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3b1728139ee896dc3d11865e1eae57.jpg",[],{"id":22162,"slug":22163,"title":1178,"dynasty":223,"author":22164,"museum":20,"description":22165,"tags":22166,"thumbUrl":22167,"material":179,"size":179,"collection":124,"collections":22168,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":49},236413,"shan-shui-zhou-mei-geng-236413","梅庚","清初著名画家、诗人梅庚（1640—1716），原名以庚，一字藕长、子长，号雪坪、雪坪子，又号听山翁。梅庚的曾祖父是大戏剧家、诗人、藏书家梅鼎祚。他的父亲梅朗中是复社名士，善于书画诗文，在当时被称为“三绝”，可惜36岁就英年早逝。\n梅庚（1640—1716），字子长，号雪坪，又号听山翁 清朝，安徽宣城人。梅清从孙。康熙二十年（一六八一）举人，官泰顺知县。善篆、隶，画山水、花卉，脱略凡格，不宗一家，偶尔落笔，韵致翩然。兼工白描人物。康熙三十六年（一六九七）尝作山水扇，今藏故宫博物院。工诗，著《吴市吟》《山阳笛漫兴集》《玉笥游草》，临卒作诗，署曰《推枕吟》。",[24,25,202,114,118,30,31,204,7,35,116,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8715f76cda3e05968cada9cadfa0b11.jpg",[124,103],{"id":22170,"slug":22171,"title":22172,"dynasty":54,"author":22173,"museum":20,"description":22174,"tags":22175,"thumbUrl":22176,"material":140,"size":22177,"collection":44,"collections":22178,"showCount":320,"zanCount":928,"manualWeight":48,"mainColor":49},236273,"li-jian-zhou-huang-ji-236273","励剑轴","黄济","图绘八仙之一铁拐李腰挂葫芦，衣衫褴褛，赤足立于水中，双手挽宝剑，在石上磨砺。在衣纹的描写上，用工整流畅的铁线描和兰叶描，造型准确，个性鲜明，属于继承唐宋以来工笔传统工细人物画。整幅作品，用笔秀润，设色古雅，老松苍劲，岩石朴茂，人物生动传神，体现了画家在人物画和山水画上过人的艺术功力。\n从此人物的形象和神情姿态来看，画中所绘的人物似为传说中的八仙之一铁拐李的形象，魁伟强健的躯体，身着褴楼的衣衫，腰间系有一红色的胡芦，两腮长满了胡须，双眉竖起，怒目瞪视，赤足立于水中，脚下溪水潺潺流淌，双手挽着宝剑，正在湖石上磨砺，而双日又凝视着画外，似欲以砺剑斩除妖魔之状。这就点明了此画的主题。此画为突出其主题，周围配置一些景物作陪村，如人物画左侧，竖立着山石，山石造型奇特，上端分为两楼，各向左、右倾斜，山石上大小下，又问两侧弯斜显得有些不甚稳固似的。画幅右侧有一颗古老的松树拔地而起，盘根虬曲，树根露裸在土外，树干粗壮，仪露出局部，树干上疤结较多，旁置一支拐杖，支倚在松树旁。\n画面上端被茂密松树枝叶所占有，这可谓是妙笔。这样使此画构图充实饱满，整幅画的结构呈竖长方形，上不留天，下不留地，虽所画的景物不多，但通过作者的巧思安排，使画面所配置的物象处于平衡状态。画家对人物的刻画虽采用夸张的表现手法，但仍倍觉人物刻画十分细腻生动。如粗壮有力的双臂、硕大的双手、坚实的胸膛、有力的双腿、浓黑的髭须、圆睁的双目，极富有个性，一副刚正之气跃然纸上，这与画中人物那种强悍之气相吻合。此画构图半稳，画中主人居于正中，凡所衬托的景物配搭得紧凑和谐。但画家通过人物的动态和线条的走向等诸多方面的别具匠心的处理，使整个画面富有动感，达到了动和静的结合。在用笔方面，人物的衣纹线条粗犷豪放，劲健有力，其须发却以细若游丝的线条来表现，衣袂飘洒飞动，极具动感。色彩以平涂为主。山石皴法严谨，松树针叶笔墨工细，这是典型的院体风格。",[24,202,28,61,29,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F981023a5b81977e8d69941cfeb0f0a57.jpg","纵170.7厘米，横111厘米",[44,45],{"id":22180,"slug":22181,"title":22182,"dynasty":223,"author":16118,"museum":459,"description":22183,"tags":22184,"thumbUrl":22185,"material":179,"size":179,"collection":179,"collections":22186,"showCount":320,"zanCount":928,"manualWeight":48,"mainColor":128},235781,"yu-shan-zhu-xian-he-bi-ce-fang-ju-ran-xiao-jing-ce-ye-yang-jin-235781","虞山诸贤合璧册-仿巨然小景册页","此作用淡墨晕染出空山新雨的清润意境，远山含黛隐于烟岚之间，层崖间飞瀑直下，暗合“树杪百重泉”的诗意。山坳溪流转折，苍松错落成林，溪侧茅舍孑立，野趣横生。\n画师以松秀苍雅的笔意追摹巨然，水墨皴染间元气淋漓，将山雨初歇后的空濛静穆铺陈开来，不见艳色，却把江南山野的湿润生机与文人幽居的逸趣融于尺幅。观之便如身临幽谷，似能听见泉鸣溪淙，呼吸到林间清润的空气，尽揽山居悠然诗意。",[24,25,385,114,118,60,30,204,32,7,116,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ca409c904227b12e2f2e2c545a309b.jpg",[],{"id":22188,"slug":22189,"title":22190,"dynasty":223,"author":10363,"museum":459,"description":22191,"tags":22192,"thumbUrl":22193,"material":179,"size":179,"collection":179,"collections":22194,"showCount":320,"zanCount":928,"manualWeight":48,"mainColor":128},235672,"yan-ju-qiu-shuang-tu-zhou-xi-gang-235672","岩居秋爽图轴","《奚冈岩居秋爽图轴》是清代奚冈创作的一幅画。\n图绘峰峦高耸、庭轩虚敞的江南秋景。\n奚冈的山水画在宗法元四家的基础上又上溯五代董源、巨然，下逮明人董其昌及清人王原祁诸公，萃其逸韵而自成一格。\n此图是他法黄公望（号井西道人）笔意所作，笔法清秀，润色淡雅，意境深远，颇得黄氏画作中雅洁淡逸之趣。\n款署：“仿井西老人岩居秋爽图。\n嘉庆丙辰小春。\n蒙泉外史奚冈。\n”钤“奚冈之印”阴阳文印、“蒙泉外史”白文印。\n“丙辰”为清嘉庆元年（1796年），作者时年51岁。",[24,202,114,118,30,244,7,35,206,500,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bc6a03c56962e7bf9eca5520ceefbc.jpg",[],{"id":22196,"slug":22197,"title":5747,"dynasty":223,"author":4731,"museum":459,"description":5748,"tags":22198,"thumbUrl":22199,"material":808,"size":809,"collection":179,"collections":22200,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},235666,"shan-shui-ping-yuan-jiang-235666",[24,25,152,202,59,28,30,62,63,64,7,117,37,69,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f04d355bfef7f860f03bc022aa5b472.jpg",[],{"id":22202,"slug":22203,"title":3901,"dynasty":223,"author":13104,"museum":459,"description":22204,"tags":22205,"thumbUrl":22206,"material":179,"size":179,"collection":124,"collections":22207,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":1138},235174,"shan-shui-ce-ye-xin-235174","此作用笔秀雅淡逸，以平远之法铺展景致。近岸老梅虬曲苍劲，枝桠缀着新芽，三两行人策蹇徐行，野意悠然自生。中洲淡渚萦回错落，林木参差间，茅舍隐于浅滩，尽显江乡闲寂之态。远景主山以干笔皴擦，墨色清润苍厚，云气吞吐于崖岫，虚灵空濛。\n全幅简淡萧疏，以水墨晕染出江南春日清和之态，未作繁复刻画，却将平林远岫的空阔淡荡铺陈尽致，将文人寄情丘壑的幽怀融于尺幅，淡而弥远，清而有味，尽显静穆淡远的山水逸趣。",[24,114,118,385,30,117,7,63,64,61,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c5744de3032ee5211824bd4b4ccd05.jpg",[124],{"id":22209,"slug":22210,"title":3724,"dynasty":223,"author":381,"museum":20,"description":11258,"tags":22211,"thumbUrl":22212,"material":15512,"size":2092,"collection":179,"collections":22213,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},234997,"yuan-ji-shan-shui-tu-ce-shi-tao-234997",[24,25,385,114,118,30,115,64,117,7,156,35,17575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60998edd7aa06ac4ca0e9c4fd7984022.jpg",[],{"id":22215,"slug":22216,"title":6800,"dynasty":223,"author":2792,"museum":459,"description":12705,"tags":22217,"thumbUrl":22218,"material":808,"size":809,"collection":179,"collections":22219,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},234958,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234958",[24,25,385,28,118,30,63,64,7,117,500,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8351d3095c2e469174b51b3d50246961.jpg",[],{"id":22221,"slug":22222,"title":22223,"dynasty":54,"author":22224,"museum":459,"descript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“观其风神笔力”，故称为赵伯驹之作。本幅画山水晴云，游骑寻春，村家桃柳，水亭茶话。通幅以青绿为主调，生动地表现出春日触目皆绿的景致",[23,152,24,25,202,28,30,62,63,64,115,29,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7c6c4658758839cef52e467585382b.jpg","纵89.5cm，横32.3cm",[],{"id":22271,"slug":22272,"title":22273,"dynasty":54,"author":3409,"museum":167,"description":22274,"tags":22275,"thumbUrl":22276,"material":122,"size":22277,"collection":179,"collections":22278,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":49},231953,"su-shi-liu-dai-tu-cui-zi-zhong-231953","苏轼留带图","宋神宗年间(1078年前后)苏东坡与佛印法师是知心好友，称为“忘形交”。一天苏东坡突然来访，直入方丈室。佛印正欲为僧众说法，故意开玩笑不让苏东坡坐，说：“此间无坐处”。苏东坡随即用禅宗之语答道：“暂借佛印四大为座”。佛印见他居然班门弄斧，便想难难他，提出如果答出问题就请他坐，答不出就把玉带输掉。苏轼自以为难不倒他欣然答应。佛印问：“既然四大皆空，五蕴非有，居士向哪里坐?”(四大：“地、水、火、风”大，佛教认为是构成物质的四大元素。五蕴：“色、受、想、行、识”蕴，是构成人身的五种因素)。你想，既然四大皆空，五蕴非有，便是空空如也，一无所有。哪里还会有什么座位呢?苏东坡果然被难住了。只得解下玉带相赠。佛印也当即取出一幅自己的衲裙回赠。真得感谢这位聪明的和尚，为我们留下了这件珍贵的文物。苏东坡还写了三首诗记这件事，题目叫《玉带施元长老，元以衲裙相报次韵》，其中有“此带阅人如传舍，流传到我亦悠然。锦袍销落应相称，乞与佯狂老万回”等句，流露出政治上失意上图专为存放苏东坡玉带供人观瞻的“留玉阁”\n这幅《留带图》，画的正是苏轼与僧人参廖子的故事。崔子忠师承董其昌，在人物画上与陈洪绶齐名，并称南陈北崔。所画人物面目清奇而有古意。惜乎所寻的这幅《留带图》太小，咱竟不能见识其笔力。也罢，苏胡子是多面手，不但词文冠绝天下，连书法绘画都是超一流名家。宋四家“苏黄米蔡”，苏胡子书法排名大宋第一。崔画不清晰，录一幅苏胡子的字以弥补。《黄州寒食帖》，号称天下行书第三。\n“有情风万里卷潮来，无情送潮归”，“对潇潇暮雨洒江天，一番洗清秋”，“无边落木萧萧下，不尽长江滚滚来”，就是这样的联想，就是这样的博大开阔的境界。\n婉约为正宗的词在苏轼那里有了极大的开拓，但是可惜其他人没有追随上来。天才常常比一般人走得快一点吗？秦观，仍是词人之词，他为何不学苏轼做诗人之词？但秦观依然有其特色之处，一般人常把抽象的感情比作具象的景物，但秦观却能够把具体的形象比作抽象的感情。",[2406,24,25,29,28,114,61,7,117,69,13005,1344,119,153,994,8640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ad3b4fbcab6254827d3f2934fc1b38.jpg","81.4x50",[],{"id":22280,"slug":22281,"title":22282,"dynasty":3235,"author":434,"museum":459,"description":22283,"tags":22284,"thumbUrl":22285,"material":808,"size":809,"collection":179,"collections":22286,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":49},231709,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-dong-si-ti-hu-si-juan-yi-ming-231709","镰仓时代 天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,24,25,26,28,59,29,923,62,63,64,116,30,7,117,624,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":22288,"slug":22289,"title":20557,"dynasty":54,"author":22290,"museum":459,"description":22291,"tags":22292,"thumbUrl":22293,"material":808,"size":809,"collection":179,"collections":22294,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},230927,"shan-shui-tu-shan-mian-wen-xi-230927","文喜","此作用笔枯淡清逸，以水墨写就林泉雅境。崖壁崔嵬，飞泉隐于山坳，皴笔简括写意，尽显山石苍朴质感。几株古松虬曲苍劲，枝桠舒展自带灵动之姿，衬出林间清寂。平岗之上二人伫立，身形简括却宛然可见凭眺幽赏之态，暗合文人寄情丘壑的雅怀。整幅扇面构图疏密得宜，留白暗含空远之境，淡墨轻皴间，萧散出尘的林下意趣扑面而来，尽显小品山水的雅致情致。",[2895,24,25,114,118,30,540,117,61,206,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a09efb7730295a8cdc7f2ba237beb1e.jpg",[],{"id":22296,"slug":22297,"title":22298,"dynasty":223,"author":22299,"museum":459,"description":22300,"tags":22301,"thumbUrl":22302,"material":179,"size":179,"collection":179,"collections":22303,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},230216,"fang-gu-shan-shui-ce-ye-8-kai-gu-kui-230216","仿古山水册页8开","顾逵","此作用淡墨晕染出烟雨江南的朦胧意趣，山峦以浅皴轻苔点出温润质感，如被薄雾轻笼。水面留白衔接着远天近岸，一叶扁舟随波缓行，载着晚归的闲散意趣。\n\n林间茅舍隐于枝叶之间，不见喧嚣，唯余清寂。简笔点染的林木不带繁饰，却将风雨初歇的湿润淋漓尽数藏于墨色层次里。通篇以水墨铺陈，无一处浓艳设色，把平和冲淡的林下之思晕在烟岚雾霭中，将人轻轻拉入这幅水墨长卷，静看波痕微动，坐听晚风穿林，尽得古典山水空灵澹远的禅意。",[24,114,385,118,958,30,115,64,289,7,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab22a74172d9c0fa0f97e6463ea3e86.jpg",[],{"id":22305,"slug":22306,"title":11803,"dynasty":223,"author":2792,"museum":459,"description":22307,"tags":22308,"thumbUrl":22309,"material":179,"size":179,"collection":179,"collections":22310,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},229020,"song-qiao-tang-tu-juan-wang-hui-229020","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[23,24,25,26,28,30,118,540,117,35,500,7,116,64,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":22312,"slug":22313,"title":22314,"dynasty":223,"author":4524,"museum":459,"description":22315,"tags":22316,"thumbUrl":22317,"material":179,"size":179,"collection":179,"collections":22318,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},228938,"qian-long-nan-xun-zhu-bi-tu-qian-wei-cheng-228938","乾隆南巡驻跸图","此作用鸟瞰全景式构图，将山林梵宫驻跸地铺展于绢面。界画工细严整，殿宇层叠排布对称规整，朱红标识清晰点明殿内陈设，精准勾勒出建筑形制，尽显驻跸行馆的严整规制。\n\n周遭林木苍秀错落，淡墨轻赭晕染丘壑，将人工营造融于山野清境之中。整体设色古雅沉静，笔触精细柔和，既详实记录了驻跸之所的全貌，又以山水画意晕染出江南林泉的幽谧雅韵，是纪实性与文人画意趣相融的精品，尽显山林行宫的清雅格局。",[23,24,25,59,28,29,62,30,7,69,70,117,345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd542b499186cbae634efac97536fa24b.jpg",[],{"id":22320,"slug":22321,"title":22322,"dynasty":54,"author":4230,"museum":459,"description":22323,"tags":22324,"thumbUrl":22325,"material":808,"size":809,"collection":179,"collections":22326,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},228846,"da-mo-zhi-hui-neng-liu-dai-zu-shi-tu-juan-dai-jin-228846","达摩至慧能六代祖师图卷","图中捕绘达摩端坐于深山洞中，面壁打坐，神态平和又虔诚。还有二祖神光（后更名慧可）、三祖僧璨、四祖信道、五祖弘忍、六祖慧能（唐高僧，佛教禅宗南宗的开创者），以及其他僧15个人。此画技法精熟，人物衣纹工整流畅，深得李唐、刘松年遗意。",[23,24,25,26,923,61,30,114,28,118,119,120,153,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75473e50ad591868084cb87012e07044.jpg",[],{"id":22328,"slug":22329,"title":22330,"dynasty":54,"author":434,"museum":459,"description":22331,"tags":22332,"thumbUrl":22333,"material":179,"size":179,"collection":179,"collections":22334,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":49},228798,"song-yin-xue-hu-tu-yi-ming-228798","松荫雪虎图","萧寒雪色覆满林莽，古松虬曲苍劲，皴染厚重的枝干尽显老辣古拙，松针攒簇如铁，撑起一片幽寂荫凉。\n\n画中猛虎盘踞雪地，姿态松弛慵懒，却难掩百兽之王威仪。虎身斑纹勾勒劲挺写实，毛发晕染细腻柔和，将皮毛的蓬松质感尽显无遗。它目光沉沉锁着爪下猎物，獠牙微露，悍野之气暗藏于松弛神态中。\n\n淡墨晕出薄雪覆于枯槎衰草间，冷寂荒寒的雪境，更衬出猛虎孤高凛冽的气场。整作工写相融，细处描摹虎之肌理毛发，粗笔铺就林雪萧索氛围，于静谧间暗藏肃杀野性，尽显走兽画的精妙写实功底，将冬日林莽的荒寒与百兽王的雄健完美揉合。",[23,24,152,25,28,29,118,4537,1855,761,747,244,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62072f89e4fcb137c0ced81bb18267a8.jpg",[],{"id":22336,"slug":22337,"title":22338,"dynasty":54,"author":20212,"museum":459,"description":22339,"tags":22340,"thumbUrl":22341,"material":179,"size":179,"collection":179,"collections":22342,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},228464,"liu-pu-yu-le-tu-qian-gu-228464","柳浦渔乐图","此作用长卷铺展江南水居意趣，烟波江上渔舟星散，渔人或垂纶闲坐，或收网归棹，鲜活尽显水乡生计日常。两岸柔柳拂波，杂树错落，茅舍隐于林薮，鸥鸟翔集天水之际，淡墨轻晕出空濛烟岚，将野逸清寂的乡野意趣与寻常烟火相融。笔墨秀雅松灵，设色浅澹柔和，把文人心向往之的渔樵隐逸之乐，藏在一水一木、一渔一舟间，实景鲜活与雅逸诗意兼具，尽显温润雅致的笔墨情致。",[23,24,25,26,114,28,30,1216,64,115,156,1376,61,639,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4627df9684f8bd39579529eacfef4b9a.jpg",[],{"id":22344,"slug":22345,"title":1532,"dynasty":223,"author":8985,"museum":459,"description":22346,"tags":22347,"thumbUrl":22348,"material":179,"size":179,"collection":179,"collections":22349,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":49},228397,"fang-ju-ran-shan-shui-liu-du-228397","此作用披麻皴晕染山石肌理，层叠山峦似含江南烟岚，氤氲着湿润朦胧的空寂质感。近岸苍松杂木蓊郁，山居屋舍掩映林间，汀渚蜿蜒入水，清波澹澹漾开涟漪，将幽居野逸之趣藏于丘壑之间。\n\n笔墨追摹古意，苍润兼具，把山林幽寂、溪声松涛的林下之思铺陈开来，恍如引观者踏入避世桃源，静赏林泉烟霞，尽得山水寄情的悠远意韵。",[23,24,30,60,118,114,243,7,64,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8672297878af1e9fe4bc94a8e35ae8.jpg",[],{"id":22351,"slug":22352,"title":22353,"dynasty":54,"author":13856,"museum":459,"description":22354,"tags":22355,"thumbUrl":22356,"material":179,"size":179,"collection":179,"collections":22357,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},228356,"wan-zhu-tu-juan-song-ke-228356","万竹图卷","此作用淡墨白描绘就溪岸幽篁，坡石以简淡皴擦带出肌理，丛竹错落生于岩畔，疏密有致，满卷清寂萧散。以草书法度入画，笔致瘦硬爽利，竹叶萧洒灵动，将行草的跌宕意趣融于竹间，笔墨苍秀，兼具法度与文人雅韵。\n整卷画书合璧，晴川修竹间尽显江南林下清旷之致，暗合文人寄情林泉、澄怀观道的襟怀，是笔墨意趣与林下雅志完美相融的佳构。",[23,24,25,26,114,30,1067,7,64,153,120,16356,118,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc7f485e2b2663e38e2c02ace4472a1.jpg",[],{"id":22359,"slug":22360,"title":22361,"dynasty":54,"author":22362,"museum":459,"description":22363,"tags":22364,"thumbUrl":22365,"material":808,"size":809,"collection":179,"collections":22366,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":49},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","王世昌","王世昌（生卒年不详），明代画家，字时雍（又作畴雍），号历山，山东人，李开先在《中麓画品》（1541年成书）中即对他有评论记载。他工画山水人物，画法出于院体浙派，山水笔墨苍劲雄浑，人物用笔劲捷，骨力凝重，造型生动。传世作品有《高士访隐图》、《高士吟秋图》、《高士春山图》、《山水图》、《松荫书屋图》等。见《图绘宝鉴续纂》、《无声诗史》。",[23,152,24,25,202,475,114,28,118,761,117,64,676,61,7,500,37,1877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b8e35ce302f74142791093945b3c13.jpg",[],{"id":22368,"slug":22369,"title":22370,"dynasty":18,"author":6327,"museum":459,"description":22371,"tags":22372,"thumbUrl":22373,"material":179,"size":179,"collection":179,"collections":22374,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},227976,"zhong-xing-rui-ying-tu-juan-xiao-zhao-227976","中兴瑞应图卷","《临萧照中兴瑞应图卷》是明代画家 创作的一幅绢本设色画。\n此幅为仇英的摹古之作。\n仇英中年以后，曾先后在大收藏家周凤来和项元汴家客居近2年，得以广泛观摩宋、元名迹，摹古技艺精深。\n《中兴瑞应图》卷为南宋萧照所作，取宋高宗赵构即位前的种种瑞应传说为内容，根据曹勋辑“瑞应诸事”所写赞文描绘而成，是一幅歌颂赵构重建王朝的作品。\n此卷现存四段：一、占卜。\n徽、钦二帝被俘后，显仁皇后在行殿用棋占卜，兆告康王继位，众皆庆贺。\n二、渡河。\n一骑陷落冰际，惟赵构得免。\n三、授衣。\n萝黄袍加身。\n四、射兔。\n高宗戎装骑驰，箭中白兔。\n原作共12段，曾藏于项元汴家，仇英因此得到观摩机会。\n卷末署有“吴郡仇英实父谨摹”款，钤“实父”、“十洲”二印。\n引首有董其昌书“仇英临宋萧照《高宗瑞应图》其昌”。\n后幅有董其昌、秦松龄、尹绳孙、许之渐、黄家舒、吴伟业六家题记。\n经项元汴、梁清标、耿信公等鉴藏。\n全画用笔粗重，设色妍丽，构图平远，既有宋画古拙雄劲的特色，又有文人画的韵致，不愧为仇英摹古精作。\n此卷临本共4段，用笔粗健，设色精细，图中建筑的比例、形象、风格以及细部都极其忠实于原作，再现了萧照绘画的神髓，可谓“下真迹一等”。\n也有古建筑研究专家认为仇英的楼阁画只是在临摹宋画时才有出色的表现，而其自己的创作则逊色一筹。\n仇英（1494-1561），江苏太仓人，居苏州，出身低微，初为漆丁，后改学画，初从师周臣，结交文征明、祝允明、唐寅等文人画家，对其提高文艺修养和画艺起了很大的作用。\n他还曾在收藏家项元汴家作画，遍观项氏所藏历代法书名画，并加以临摹，潜心钻研，终成一代名家。\n仇英擅人物、山水、走兽、界画，亦精于临摹，均技艺精湛。\n其山水师法赵伯驹、赵伯辅，作青绿山水，山石勾勒，皴染细密，色彩浓丽明雅，境界宏大繁复。",[23,24,25,26,28,29,59,61,62,7,70,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a11517bb5e9b3c0c974e033db1daa83.jpg",[],{"id":22376,"slug":22377,"title":22378,"dynasty":18,"author":6327,"museum":459,"description":22379,"tags":22380,"thumbUrl":22381,"material":179,"size":179,"collection":179,"collections":22382,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":49},227703,"shan-yao-lou-guan-tu-xiao-zhao-227703","山腰楼观图","《山腰楼观图》是宋代画家萧照创作的一幅绢本水墨画，现收藏于台北故宫博物院。\n\n此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,152,24,25,475,59,118,28,117,7,2715,115,204,501,62,500,661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbb108bac6d25aa9774d3238cd413a6.jpg",[],{"id":22384,"slug":22385,"title":22386,"dynasty":18,"author":434,"museum":459,"description":11274,"tags":22387,"thumbUrl":22388,"material":808,"size":809,"collection":179,"collections":22389,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":985},227367,"yu-lin-ku-003-ku-zhu-shi-xi-bi-yi-ming-227367","榆林窟003窟主室西壁",[23,3402,923,30,62,117,7,114,28,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9750ce4f94c586b51d9307a835d50ecb.jpg",[],{"id":22391,"slug":22392,"title":22393,"dynasty":18,"author":434,"museum":459,"description":22394,"tags":22395,"thumbUrl":22396,"material":179,"size":179,"collection":179,"collections":22397,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},227344,"nan-tang-wen-hui-tu-yi-ming-227344","南唐文会图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。",[23,24,25,28,29,61,30,7,173,2938,120,119,1525,20551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a6e27647f006a060beabf4f36b4ffa.jpg",[],{"id":22399,"slug":22400,"title":22401,"dynasty":18,"author":239,"museum":167,"description":22402,"tags":22403,"thumbUrl":22404,"material":179,"size":179,"collection":179,"collections":22405,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},227292,"shu-se-ping-yuan-tu-guo-xi-227292","树色平远图","《树色平远图》，宋代，郭熙，绢本水墨，纵32.4厘米，横104.8厘米，美国纽约大都会博物馆藏\n\n《树色平远图》表现深秋郊外的优美景象。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。此图无款，卷后有元明诸家诗文题跋。\n\n此图与郭熙的另一副传世名画《窠石平远图》画风和构图极为相似，描绘一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。整个景物清寒枯硬，其境界清旷平淡。画面以平远布局，构景简洁，开阔而均衡。其树似鹿角蟹爪，山石笔法灵活多变，墨色浓淡变化丰富而微妙，所造之境具体真实，从中可以看出李成画风的影响，同时又体现出郭熙山水画的典型风格。",[23,24,25,26,475,114,118,30,7,500,13494,579,578,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d05c0afd595c9457e8b1f3fe3e463b.jpg",[],{"id":22407,"slug":22408,"title":22409,"dynasty":223,"author":17274,"museum":459,"description":17321,"tags":22410,"thumbUrl":22411,"material":179,"size":179,"collection":179,"collections":22412,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},226628,"si-shi-shan-shui-01-pu-ru-226628","四时山水01",[24,114,28,118,385,30,117,540,64,116,156,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c764ce4c7a82085c37e224fd507c9.jpg",[],{"id":22414,"slug":22415,"title":22416,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":22417,"thumbUrl":22419,"material":808,"size":809,"collection":3244,"collections":22420,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":985},226131,"the-water-lily-pond-at-giverny-1917-mo-nai-226131","The Water-Lily Pond at Giverny, 1917",[7526,3239,2246,22418,1290,9085,7,1621,2725,1191,7527,9938,9940],"睡莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3a8fb7d461b825bc9f879091fc468a.jpg",[3244],{"id":22422,"slug":22423,"title":22424,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":22425,"thumbUrl":22433,"material":808,"size":809,"collection":3244,"collections":22434,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":49},225981,"luncheon-on-the-grass-central-panel-1865-mo-nai-225981","Luncheon on the Grass, Central panel, 1865",[3239,7526,7419,7418,22426,61,411,7,22427,22428,22429,22430,22431,8259,18388,22432],"笔触自由","野餐布","水果","酒瓶","糕点","阳伞","聚餐场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08b581439bc662f65016c45b8908070.jpg",[3244],{"id":22436,"slug":22437,"title":22438,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":22439,"thumbUrl":22440,"material":808,"size":809,"collection":3244,"collections":22441,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":49},225876,"wheatfield-june-fan-gao-225876","Wheatfield (June - )",[152,3239,3240,12539,9096,8067,10852,3148,7,5404,3295,2725,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F993a4033e4ca4492e2043bb928a737af.jpg",[3244],{"id":22443,"slug":22444,"title":4448,"dynasty":223,"author":22445,"museum":459,"description":22446,"tags":22447,"thumbUrl":22448,"material":179,"size":179,"collection":179,"collections":22449,"showCount":320,"zanCount":928,"manualWeight":48,"mainColor":128},224533,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-224533","祁豸佳","此作用笔追摹前贤意趣，主峰奇崛高耸，淡墨晕染石身，浓墨点苔醒出山岩苍古肌理，山间林木疏密错落，枯荣相映。近岸虬松老干遒劲，枝桠舒张如盖，临水茅庐静立，二人凭栏晤谈，衬出林下幽寂雅趣。\n整幅以高远法布局，虚实相生，留白处晕出山岚氤氲，将山野幽居的静谧萧散尽数铺展。笔墨简淡清逸，淡墨皴擦间尽显山水温润空濛，又自具峭爽格调，尽显文人寄情林泉的雅致意趣。",[23,24,25,202,114,118,30,540,35,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7804fca5f15a8af04239b286d359bd.jpg",[],{"id":22451,"slug":22452,"title":22453,"dynasty":223,"author":381,"museum":459,"description":22454,"tags":22455,"thumbUrl":22456,"material":179,"size":179,"collection":179,"collections":22457,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},224504,"shan-shui-ce-kai-liu-shi-tao-224504","山水冊开(六)","此作用淡赭轻晕山峦，焦墨点染林木，笔意纵肆苍秀。近观村舍错落溪畔，渔翁独棹扁舟泛于清波，丹崖翠岫间松柯虬劲，墨色苍润见层次。远景峰岫隐在烟岚留白中，晕出水气空濛的夏夕凉意。\n\n页首题诗与画境浑然相融，将山畔闲居、横塘晚风的清寂悠然铺展开来，以尺幅写尽江南水乡的淡远萧散，借山水寄寓胸中丘壑，尽显文人画幽淡旷达的意趣。",[24,25,385,114,28,118,30,115,7,35,243,64,1363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee7ed3d690ac35d0a82eb7f20090f30a.jpg",[],{"id":22459,"slug":22460,"title":22461,"dynasty":223,"author":381,"museum":459,"description":22462,"tags":22463,"thumbUrl":22464,"material":179,"size":179,"collection":179,"collections":22465,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},224499,"shan-shui-ce-kai-san-shi-tao-224499","山水冊开(三)","石涛（1642—177）名原济，号大涤子、清湘老人、苦瓜和尚、济山僧、瞎尊者等。\n石涛原名朱若极，明代藩靖江王后裔，父朱享嘉于南明隆武时在广西自称“监国”，遭俘杀。\n石涛便隐匿起来，后出家为僧。\n石涛曾游历过许多名山大川，有“搜尽奇峰打草稿”、“笔墨当随时代”名言。\n石涛晚年寓居扬州，卖画为业。\n这里介绍的石涛山水，是藏于故宫博物院、以唐代王维、李白、张说等人诗意创作的八开册页中的一页。\n每开册页纵2.厘米，横16.5厘米，纸本，水墨淡设色。\n石涛擅山水、花卉，师宋、元诸家，参以造化，自创一格，笔墨清新多变、天真烂漫，对后世影响极大。\n石涛与石溪并称“二石”，再加朱耷、弘仁，便称“清初四画僧”。\n石涛存世作品尚多，著述则有《苦瓜和尚画语录》、《 》。\n这开画表现李白的千古名篇“静夜思”。\n月光在画面上并没有出现，只画一人倚于窗前做望月状，这就足够了。\n屋后的灌木以白粉掺色画出，再加上屋后的山以隐隐约约的笔触写出，迷迷朦朦，霜意表现的极佳。\n册页左上以隶书题写，古拙可爱。\n唯“床前明月光”之“前、明”写作“头、看”，这是因为版本不同的缘故。",[23,24,114,28,118,385,30,115,579,35,117,7,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fde1928ce926a554338cf76be73ab55.jpg",[],{"id":22467,"slug":22468,"title":22469,"dynasty":223,"author":2792,"museum":459,"description":22470,"tags":22471,"thumbUrl":22472,"material":179,"size":179,"collection":179,"collections":22473,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},224444,"fang-li-cheng-xue-ji-tu-wang-hui-224444","仿李成雪霁图","此作用淡墨晕染山石，以留白托出积雪的莹白蓬松，将雪裹山峦的厚重萧寒尽数铺展。枯木虬枝劲挺错落，枝梢缀着残雪，溪面凝冰仍暗藏水意潺潺，悬瀑似冻未绝，于冷寂间暗寓生机。\n\n整幅画作尽得冬日空山的清寂辽远，师法宋人笔意，苍浑之中兼具秀润雅致，把雪后山川的荒寒冷寂，晕化为淡逸悠远的诗意，令人恍若置身冰封雪覆的空山，浸溺在这份清绝尘嚣的静谧之中。",[23,24,25,202,60,114,118,30,818,31,244,7,204,5454,994],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9125d4abb2b29d2399e2e24c79ab71e9.jpg",[],{"id":22475,"slug":22476,"title":6479,"dynasty":223,"author":472,"museum":459,"description":22477,"tags":22478,"thumbUrl":22479,"material":179,"size":179,"collection":179,"collections":22480,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},224429,"shan-shui-tu-zhou-wang-shi-min-224429","此作用高远、平远兼济的构图铺展春日山乡景致。近处枯木虬枝舒展，与苍松错落相映，坡岸下春水澹澹，林麓间屋舍幽藏，安然静卧于烟岚轻笼之中。远景山峦以干笔淡墨勾勒皴擦，笔意松秀苍润，以浅淡墨色晕染出空濛氤氲的春日山气。\n\n全作用墨清隽温厚，脱胎元人山水意趣，以留白衬出春水空阔，将山野的清寂淡远融于笔底。未施浓丽敷色，仅以水墨干湿浓淡区分物象层次，尽显萧散简远的文人意韵，把春日林泉的幽闲之趣藏于每一重皴染之间，含蓄悠远，尽显古典山水的静雅之美。",[23,152,24,25,202,114,30,7,117,35,206,540,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2b57e9a7f5704ab95a2ab50a4edb.jpg",[],{"id":22482,"slug":22483,"title":22484,"dynasty":223,"author":3836,"museum":459,"description":22485,"tags":22486,"thumbUrl":22487,"material":179,"size":179,"collection":179,"collections":22488,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":49},224190,"guan-quan-tu-hua-yan-224190","观泉图","此作画境清逸古雅，右上角古木盘曲，垂藤轻曳，飞泉自崖间潺潺而下。崖下雅士踞石观泉，仰首凝神，似将身心融于泉声林色之中，旁侧童子携囊持壶，静立相随，愈衬画面幽寂。\n\n笔墨苍润秀灵，淡赭铺底晕出春日空濛，浓墨点染木叶，山石勾勒皴擦结合，写意中不失细腻。题诗与画境相得益彰，将草青花初的春景与泉鸣相融，尽显文人寄情林泉、静赏山水的闲逸襟怀，清隽淡远，观之如临其境，恍闻泉声松风。",[23,24,202,114,28,61,30,7,244,204,64,274,1238,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455ed575cfebe4bc1c8c2a52961e950.jpg",[],{"id":22490,"slug":22491,"title":22492,"dynasty":223,"author":22493,"museum":459,"description":22494,"tags":22495,"thumbUrl":22498,"material":179,"size":179,"collection":179,"collections":22499,"showCount":320,"zanCount":928,"manualWeight":48,"mainColor":128},224167,"ting-ruan-tu-liu-yan-chong-224167","听阮图","刘彦冲","《 》是清代画家刘彦冲创作的一幅设色画。\n图中文人身着高冕宽服，抱膝而坐，正听一位歌女弹奏阮琴。\n阮音清扬，四处芳草如茵，梧桐枝叶繁茂，又配以湖石、芭蕉、翠竹，清幽异常。\n《听阮图》图中款识可知此画是刘彦冲以其八兄为描绘对象绘出的。\n图中人物用线细劲圆润，颇有古意，设色妍 丽明快。\n草地以大面积花青渲染，以重色细笔根根绘出，间以浓淡的变化，形成雾动云涌之感。\n梧桐近乎淡墨白描，更有幽深清丽之意。\n整个背景有一种缥缈空灵的虚幻意味，衬托出人物笔墨的写实生动；画中人物的表情动态，又反衬阮音的悠扬动听。\n虚实相辅，以有写无，形成脱俗越尘的艺术效果。\n刘彦冲(187—1847)，初名荣，字咏之，四川铜梁人。\n擅山水、人物、花卉，工诗文。\n从师朱生昂学山水，常随师出游，尽得其法。\n兼采众家之长。\n泼墨作小米云山，亦蓊郁可观。\n人物花卉，笔法娴熟，活泼多变。\n传世作品有《柳燕图》、《松荫高士图》、《群峰秋翠图》等。",[23,29,28,61,806,7,1067,269,1938,274,22496,1170,117,1840,22497,153,1344],"侍女","书箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d001b9b4db0438891675b109cf69c51.jpg",[],{"id":22501,"slug":22502,"title":22503,"dynasty":223,"author":434,"museum":459,"description":22504,"tags":22505,"thumbUrl":22507,"material":179,"size":179,"collection":179,"collections":22508,"showCount":320,"zanCount":48,"manualWeight":48,"mainColor":128},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 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的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[23,152,24,25,202,27,28,30,116,7,117,2869,22802,153],"草亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962f475396b35bf70b0dbb4b90e5673e.jpg",[],{"id":22806,"slug":22807,"title":22808,"dynasty":54,"author":955,"museum":459,"description":3846,"tags":22809,"thumbUrl":22810,"material":808,"size":809,"collection":179,"collections":22811,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":49},283718,"fang-mei-dao-ren-shan-shui-tu-zhou-dong-qi-chang-283718","仿梅道人山水图轴",[24,202,114,30,7,35,243,60,153,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a7ad71fa54122d8e46c92daf6aa7d.jpg",[],{"id":22813,"slug":22814,"title":22815,"dynasty":223,"author":434,"museum":459,"description":13141,"tags":22816,"thumbUrl":22817,"material":808,"size":809,"collection":179,"collections":22818,"showCount":22764,"zanCount":11,"manualWeight":48,"mainColor":128},272867,"zi-tan-mu-bian-ke-si-hua-die-tu-gua-ping-yi-ming-272867","紫檀木边缂丝花蝶图挂屏",[24,11234,566,28,29,171,567,4482,4472,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ca75e6fce0bd759ecb006400d86b428.jpg",[],{"id":22820,"slug":22821,"title":3901,"dynasty":223,"author":2985,"museum":459,"description":22822,"tags":22823,"thumbUrl":22824,"material":808,"size":809,"collection":124,"collections":22825,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},238669,"shan-shui-ce-dong-bang-da-238669","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,25,385,114,28,118,30,117,7,35,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc15d3c92b2ab8760893ac4ead1ee3663.jpg",[124],{"id":22827,"slug":22828,"title":22829,"dynasty":54,"author":434,"museum":459,"description":22830,"tags":22831,"thumbUrl":22832,"material":808,"size":809,"collection":179,"collections":22833,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":49},238061,"zhang-hong-jiao-yin-wei-cha-shan-yi-ming-238061","张宏蕉荫味茶扇","此作以淡设色铺陈茶事雅集，右侧芭蕉阔叶扶苏，浓荫下摆开茶席，文士围坐清谈品茗，侍童捧器静立，将文人日常闲雅之态铺展眼前。细劲墨线勾勒人物衣纹，神态宛然灵动，芭蕉与坡石晕染秀润柔和，泥金扇底晕开古雅光泽。画面疏密相宜，左侧留白衬出清寂悠远的意境，将文人耽于茶趣、寄兴林泉的雅逸心境尽数藏于尺幅之间，笔墨隽秀平和，尽显小品画里茶事雅集的悠然意趣。",[2895,24,25,114,437,28,61,269,117,7,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f866725105e3160e49352cadb13d358.jpg",[],{"id":22835,"slug":22836,"title":3724,"dynasty":223,"author":381,"museum":459,"description":1590,"tags":22837,"thumbUrl":22838,"material":179,"size":179,"collection":179,"collections":22839,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},237765,"yuan-ji-shan-shui-tu-ce-shi-tao-237765",[24,114,118,385,30,117,204,7,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09dc0c32ab98fa7cdb90b009cd5e906.jpg",[],{"id":22841,"slug":22842,"title":5675,"dynasty":223,"author":3937,"museum":459,"description":3938,"tags":22843,"thumbUrl":22844,"material":808,"size":809,"collection":179,"collections":22845,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},237616,"hong-ren-shan-shui-ce-hong-ren-237616",[24,25,385,114,118,120,153,30,289,7,501,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c67fe135fe740c9acc2ed77ec079c59.jpg",[],{"id":22847,"slug":22848,"title":6408,"dynasty":223,"author":2792,"museum":167,"description":6409,"tags":22849,"thumbUrl":22850,"material":360,"size":179,"collection":179,"collections":22851,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},237204,"shan-shui-zhu-shi-ce-wang-hui-237204",[24,25,385,114,118,30,117,7,115,64,1067,1473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f86f65ebff438d9c1b444271fc5d317.jpg",[],{"id":22853,"slug":22854,"title":22855,"dynasty":223,"author":22856,"museum":459,"description":22857,"tags":22858,"thumbUrl":22859,"material":808,"size":809,"collection":179,"collections":22860,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},236723,"gai-qi-xi-xi-tan-mei-tu-shan-ye-gai-qi-236723","改琦西溪探梅图扇页","改琦","改琦（1773年－1828年），字伯蕴，号香伯，一号七芗，又号玉壶外史，江苏华亭（今上海市松江区）人，祖籍北京宛平，是清代中期的画家。\n先世为西域人，祖父改光宗曾任寿春镇总兵。改琦多才多艺，尤善绘画，其人物画被认为是嘉道后最工者，其画受李公麟、赵孟𫖯、唐寅、陈洪绶等影响，花草竹等画也擅长。曾绘《红楼梦图》。",[2895,24,28,29,4124,115,61,117,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631bf6ee9e5a21de7850f20fcb2ca7ba.jpg",[],{"id":22862,"slug":22863,"title":3901,"dynasty":54,"author":22864,"museum":459,"description":22865,"tags":22866,"thumbUrl":22867,"material":179,"size":20,"collection":124,"collections":22868,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},236600,"shan-shui-ce-ye-xiang-rong-236600","叶向荣","此作取景于幅面右侧，以奇崛山石为主体，细劲勾勒山石轮廓，淡墨皴擦晕染，尽显岩壁嶙峋质感。古松虬曲苍劲，枝干舒张如铁，松针层叠错落，饱经风霜之态跃然纸面。\n\n山谷间隐现村居茅舍，远景以淡墨轻施，留白晕染出朦胧空茫，将山野的幽寂悠远铺陈开来。笔墨简淡清逸，摒却繁复堆砌，以简驭繁，尽显清雅意趣，于方寸册页间，将林泉隐逸的恬淡山居诗意徐徐铺展，藏着寄情山水的幽远心境。",[24,25,385,114,118,30,540,117,63,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe8abcdf9bd8980b8e21497c06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简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,24,26,114,29,437,153,61,2123,64,7,1376,156,639,30,73,1807,13133,3987,528,462,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":22964,"slug":22965,"title":13771,"dynasty":54,"author":4044,"museum":20,"description":22966,"tags":22967,"thumbUrl":22968,"material":506,"size":179,"collection":179,"collections":22969,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},234242,"shan-shui-juan-sun-zhi-234242","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,24,25,26,114,28,118,119,120,30,243,32,66,7,35,540,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":22971,"slug":22972,"title":22973,"dynasty":54,"author":8650,"museum":20,"description":22974,"tags":22975,"thumbUrl":22976,"material":14200,"size":22977,"collection":179,"collections":22978,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},234050,"qing-shan-hong-shu-tu-shan-ye-lan-ying-234050","青山红树图扇页","此图以“没骨重彩法”绘青山、红树、白云等景致。作者自言拟张僧繇（传为没骨山水画的肇始者）的弟子范长寿法，虽然属托古之词，但是，他在创作中还是显示出对色彩极强的掌控力。图中冷暖色调和谐，石青、石绿、朱砂等矿物质颜料的运用独具特色，于争妍斗丽中营造出明媚亮丽的秋景，富有强烈的视觉冲击力和感染力。 他是继董其昌之后较早创作“没骨山水”的画家并具有新意。",[2895,24,27,28,30,7474,1081,63,64,117,7,62,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbfe4f7e30d09a06ff49125af3fe8c4.jpg","纵17.3厘米，横49.5厘米",[],{"id":22980,"slug":22981,"title":22982,"dynasty":54,"author":12856,"museum":20,"description":22983,"tags":22984,"thumbUrl":22985,"material":40,"size":22986,"collection":179,"collections":22987,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":49},233882,"pin-pang-tu-zhou-ni-duan-233882","聘庞图轴","画作取材于三国时期荆州刺史刘表聘请隐士庞德公的故事。庞德公是名士庞统的叔父，与徐庶、诸葛亮等贤达交谊笃厚。画中人物描摹精细，设色妍丽，山水气势雄伟浑厚，林木郁茂清朗。",[24,25,202,28,30,61,90,3565,117,426,29,118,7,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992ab76f04567d0262a4fd6a4882fe7a.jpg","纵163.8厘米，横92.4厘米",[],{"id":22989,"slug":22990,"title":22991,"dynasty":133,"author":10132,"museum":20,"description":22992,"tags":22993,"thumbUrl":22995,"material":13293,"size":22996,"collection":179,"collections":22997,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":985},233879,"xue-gang-du-guan-tu-zhou-ma-wan-233879","雪岗渡关图轴","此图为雪景山水，描绘崇山峻岭均为积雪覆盖，崖头隐约点缀着短小的丛树，山谷间有林木、水榭掩映，雪雾烟岚在崖隙间弥散，山脚下，长松依然清翠昂然，整个画面散发着荒寒萧索之气。这种雪景的画法完全师从黄公望《九峰雪霁图》，画家利用绢索洁白的质地，以淡墨洪染出天空、水面，以墨笔淡淡勾出景物轮廓，显现出雪景的晶莹透明。自识“雪冈度关，文壁为彦明作”。",[24,475,202,118,114,747,341,4677,7,540,117,22994,1044,244,818],"关隘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf330fe2e48ab4499d388e17cc77fd0.jpg","纵：125.4厘米，横：57.2厘米",[],{"id":22999,"slug":23000,"title":23001,"dynasty":223,"author":4335,"museum":20,"description":23002,"tags":23003,"thumbUrl":23004,"material":936,"size":23005,"collection":179,"collections":23006,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},233869,"xi-shan-fang-mu-tu-zhou-cha-shi-biao-233869","溪山放牧图轴","此幅绘一河两岸的空旷景致。构图简洁，平远取势。多以侧锋行笔，线条于精细处见苍劲，富有变化和表现力度，是查氏学倪瓒画风的代表作之一。",[24,114,30,202,118,90,994,206,117,21731,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acd635c29f606478003fbc4a3751dee.jpg","纵116.3厘米，横59.5厘米",[],{"id":23008,"slug":23009,"title":23010,"dynasty":133,"author":10373,"museum":20,"description":23011,"tags":23012,"thumbUrl":23013,"material":506,"size":23014,"collection":179,"collections":23015,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":49},233753,"xi-qiao-you-xing-tu-fang-cong-yi-233753","溪桥幽兴图","此图是元代道士画家方从义所作，山水画。图绘山水一区，高山云锁，溪水自山间流淌，草桥横架，一人策杖前行，远山隐现，茅舍隐于林木之中，意境清谧静逸。笔墨酣畅，多用染法，用笔多横向。树木点染之笔疏率，以墨之浓淡分远近。图中景物都集中于画面下部，上部则非常空旷，使画面显得深邃幽远。",[24,25,152,114,30,63,64,7,117,118,120,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a07ffc8543e2c18834f837374b8bda.jpg","纵63.3厘米，横35厘米",[],{"id":23017,"slug":23018,"title":2088,"dynasty":223,"author":381,"museum":20,"description":5685,"tags":23019,"thumbUrl":23020,"material":14848,"size":14849,"collection":179,"collections":23021,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},233421,"yuan-ji-shan-shui-ce-shi-tao-233421",[152,24,25,385,114,118,30,117,579,7,1289,5371,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c55c1ae79c7d14fcee18a101340766.jpg",[],{"id":23023,"slug":23024,"title":13771,"dynasty":54,"author":23025,"museum":20,"description":23026,"tags":23027,"thumbUrl":23028,"material":10526,"size":23029,"collection":179,"collections":23030,"showCount":22764,"zanCount":928,"manualWeight":48,"mainColor":49},233145,"shan-shui-juan-wang-yan-qiang-233145","王彦强","绘江边山峦起伏，林木繁茂，隐约可见村合依山而建。山石用披麻皴，笔法秀劲细密，林木简笔勾干，以浓淡水墨点叶。\n此图景色清新，境界清寂淡泊，具有春日山乡写生的特点，为王立中罕见传世品。",[24,25,26,114,118,30,7,243,32,328,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95037f673dc059a04e041dad1bea72e2.jpg","纵25．2厘米横53．3厘米",[],{"id":23032,"slug":23033,"title":23034,"dynasty":133,"author":6534,"museum":167,"description":23035,"tags":23036,"thumbUrl":23037,"material":555,"size":23038,"collection":179,"collections":23039,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":49},232266,"qun-feng-qiu-se-tu-gao-ke-gong-232266","群峰秋色图","画中峰峦多用淡墨浅色皴染，主峰用墨最重，山顶并缀以横笔“米点”，有水墨淋漓之趣。石绿、石青之渍染润厚秀雅，显得峰峦更为浑厚稳重。",[24,25,202,114,28,118,475,31,243,37,7,17850,117,1390,116,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24f2fae530aea5dd8da8ae53c3bd081.jpg","该幅159.9x104.8公分；全幅105.8公分",[],{"id":23041,"slug":23042,"title":23043,"dynasty":133,"author":434,"museum":167,"description":23044,"tags":23045,"thumbUrl":23046,"material":11585,"size":23047,"collection":124,"collections":23048,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":49},232263,"mu-meng-zhan-feng-tu-yi-ming-232263","牧梦占丰图","日已斜挂，远处重岭，烟岚迷濛，村居隐现。前景岸上有柳石环成一状似舞台之空间。一牧童正为牛系紖牛首偏倚，尾巴轻摆，温驯乖巧。另有三牛卧地休憩。一体大健硕，花白相杂；另二当为母子，双目相对，爱意无限。旁有一牧童以簑代席，枕膝而眠，面容祥悦，彷入好梦。身后却有同伴恶作剧而至。\n柳树干老槎枒，而枝嫩幼叶；远方桃林花开繁茂，点缀地通幅春意盎然。树石绘法与元意趣类明浙派风格，或为其先驱。",[24,25,202,28,118,30,7,91,61,578,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c1f7ae0a2d7bf6eae0fc73297bbaa5.jpg","147.1x98.1厘米",[124],{"id":23050,"slug":23051,"title":23052,"dynasty":54,"author":955,"museum":20,"description":23053,"tags":23054,"thumbUrl":23056,"material":303,"size":23057,"collection":179,"collections":23058,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},231373,"xia-mu-chui-yin-tu-dong-qi-chang-231373","夏木垂阴图","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。",[24,475,114,202,25,118,7,117,64,37,116,540,341,38,23055],"夏天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a4e197fbf86433996158956bce8f26.jpg","纵91.3厘米，横44厘米",[],{"id":23060,"slug":23061,"title":23062,"dynasty":54,"author":4230,"museum":459,"description":23063,"tags":23064,"thumbUrl":23067,"material":179,"size":179,"collection":179,"collections":23068,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":49},228844,"yan-shui-sheng-ya-tu-juan-dai-jin-228844","烟水生涯图卷","此作以长卷铺展江南烟水之致，淡赭晕开汀洲烟波，墨色劲爽勾勒江岸山石，斧劈皴意苍劲利落。芦荻萧萧覆岸，林麓间茅舍错落，水面渔舟星列，渔人或垂纶放流，或泊舟炊煮，将渔家烟火日常尽纳卷中。\n\n画作兼融笔墨刚健与文人清雅意趣，以淡墨轻岚晕染空濛水汽，把江湖野逸的隐逸之思，和渔家乐的世俗生机相融。远山近渚虚实相生，苍郁林木与澹澹烟水相映，将江南水乡的静谧闲适，绘成世外烟霞，淡远空灵间满是鲜活的烟火意趣。",[23,24,26,114,118,29,30,64,115,462,61,156,7,116,639,1376,23065,23066,2123,4940,138],"岸芷","汀草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2883f5aa258e7dba7014124bd5e0a60.jpg",[],{"id":23070,"slug":23071,"title":23072,"dynasty":54,"author":110,"museum":459,"description":23073,"tags":23074,"thumbUrl":23075,"material":179,"size":179,"collection":179,"collections":23076,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},228827,"jing-jiang-song-bie-tu-juan-quan-juan-shen-zhou-228827","京江送别图卷全卷","《京江送别图》是明代画家 创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[23,24,25,26,114,30,63,64,115,116,156,7,119,120,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":23078,"slug":23079,"title":2382,"dynasty":54,"author":55,"museum":459,"description":23080,"tags":23081,"thumbUrl":23082,"material":179,"size":179,"collection":179,"collections":23083,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":49},228456,"zhi-gong-tu-juan-chou-ying-228456","此作以全景长卷铺展四夷来朝的盛景，苍林丘壑间，蕃邦使节携礼接踵而来，人物衣冠各异、神态鲜活，仪仗贡物排布有序，尽显朝贡仪典的庄重热烈。青绿设色妍雅古润，山石林木勾勒精细工致，兼具院体画的规整与文人写意的秀灵。书画合璧，题跋与绘事相映，生动还原了盛世宾服的恢宏气象，将外交肃穆与行旅意趣融为一体，是纪事价值与审美价值兼备的佳制。",[23,24,26,29,28,25,119,120,30,61,90,7,1420,63,74,6550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3d18b84ee43ea22b5b6710c8d8abe1.jpg",[],{"id":23085,"slug":23086,"title":23087,"dynasty":54,"author":3786,"museum":266,"description":23088,"tags":23089,"thumbUrl":23090,"material":179,"size":179,"collection":179,"collections":23091,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},228313,"xun-yang-qiu-se-tu-juan-lu-zhi-228313","浔阳秋色图卷","此作用淡赭与花青晕染江岸秋景，浅滩汀渚在烟水间连绵铺展，远山如黛，浮沉于空濛江面之上。近岸枯木点缀残红，坡岸清寂冷峭，留白极尽空疏淡远之致。\n画面暗合卷中《琵琶行》的落寞诗意，将江州清秋送客的孤凄萧瑟具象化，把贬谪失意的羁旅愁思藏在冷寂的秋山寒水之中。书画合璧，以景衬情，将迁客怅惘的心境融在烟霭迷离的江天秋色素景中，尽显文人寄情诗画、以景抒怀的雅致意趣。",[23,24,25,26,28,30,119,120,118,7,32,243,3987,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c302e25a8950fc199901eccbec3e1b8.jpg",[],{"id":23093,"slug":23094,"title":23095,"dynasty":133,"author":434,"museum":459,"description":23096,"tags":23097,"thumbUrl":23098,"material":179,"size":179,"collection":179,"collections":23099,"showCount":22764,"zanCount":928,"manualWeight":48,"mainColor":49},228191,"nong-cun-jia-nv-tu-juan-yi-ming-228191","农村嫁女图卷","《农村嫁女图》，原名《瘤女图》，是 佚名画家创作的一幅淡设色画。\n此图原名《瘤女图》，后更名为《农村嫁女图》。\n全卷绘大小人物7人，分布疏密得当，自然形成四个段落，各段又有相对突出的重点人物的描写。\n首段以一骑牛披纱妇人为中心，众人目光多集于其身；次段是来宾与迎候者相见的场面，相对施礼的两位妇女为该段的中心；第三段表现两位身份较高的男性奉酒的场面；末段绘鼓乐、歌舞表演及围观者。\n各段虽有各自的主要人物，但次要人物的朝向、动作又使各段落间相互联系，构成一幅完整的画面。\n从画面表现的内容看，画的是否农村嫁女场面还有待商榷，图中吃奶的婴儿和扛于肩上的小童似与婚嫁主题不太相符，且骑牛女子似亦非新娘形象。\n笔者推测此图所表现的可能是一民女回乡省亲的场面，具体内容尚有待进一步考察。\n图中人物略施淡赭色，余则全以水墨为之。\n人物全用颤笔描加以表现，面部刻画也较为粗简，人物造型与南宋马远《踏歌图》有些相近之处。\n绘画艺术水平一般，但却生动地记录了宋元时期的现实生活场景。\n本幅无作者款印。\n钤有清“卢崇兴印”及清内府鉴藏印 5方。\n清初康熙时此卷为卢崇兴所有，乾隆时入内府，清末宣统年间佚出宫外，后为故宫博物院购藏。\n著录于《石渠宝笈·初编》卷三十五。",[23,24,152,26,437,28,61,90,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a4c8a922243dc7230811a7a4b5333e.jpg",[],{"id":23101,"slug":23102,"title":23103,"dynasty":18,"author":434,"museum":459,"description":23104,"tags":23105,"thumbUrl":23106,"material":179,"size":179,"collection":179,"collections":23107,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},227876,"liu-xi-chun-se-tu-yi-ming-227876","柳溪春色图","画面取景清隽雅致，以一角之景铺展春日闲情。苍松虬曲斜伸，松石旁廊下侍者俯身煎茶，对岸柳色氤氲，春水漾漾，远山含翠晕染如黛。衣袂轻扬的文人静坐在松下，凭览溪山春色，将幽居赏景的澹然意趣融于尺幅间。\n\n设色清润雅致，勾勒皴染细腻温婉，山水林人相映成趣，把林下雅兴、寄情林泉的幽怀铺陈开来，虽咫尺小帧，却晕染出舒展悠远的春日静境，尽显含蓄诗意与雅致情致。",[23,2895,24,25,28,118,30,61,528,64,289,7,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb44f2205239bed4a2bbdc94d9cd7c.jpg",[],{"id":23109,"slug":23110,"title":23111,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":23112,"thumbUrl":23114,"material":808,"size":809,"collection":3244,"collections":23115,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":49},226058,"the-church-at-varengeville-against-the-sunset-1882-mo-nai-226058","The Church at Varengeville, against the Sunset, 1882",[7526,3239,2395,23113,7,3374,5404,38,7527,7528],"教堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a86481bb99993e5669b8d70e96742.jpg",[3244],{"id":23117,"slug":23118,"title":23119,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":23120,"thumbUrl":23123,"material":808,"size":809,"collection":3244,"collections":23124,"showCount":22764,"zanCount":928,"manualWeight":48,"mainColor":128},226008,"quai-du-louvre-1867-mo-nai-226008","Quai du Louvre, 1867",[7526,3239,7527,7528,17667,32,69,23121,7,760,8068,1459,5404,71,1446,17666,23122,2079,8259,1290],"穹顶","遮阳伞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b26b87b4f48bbad6a3073d8c90ffb8.jpg",[3244],{"id":23126,"slug":23127,"title":23128,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":23129,"thumbUrl":23132,"material":808,"size":809,"collection":3244,"collections":23133,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":49},225941,"haystacks-at-the-end-of-the-summer-morning-effect-1890-mo-nai-225941","Haystacks at the End of the Summer, Morning Effect, 1890",[3239,7526,17648,23130,23131,14293,6958,3148,7,500,11517,411,7531],"光影变化","色彩层次","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c08853c311e2c54278ddd3e0b835759.jpg",[3244],{"id":23135,"slug":23136,"title":23137,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":23138,"thumbUrl":23143,"material":808,"size":809,"collection":3244,"collections":23144,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":49},225861,"trees-and-undergrowth-july-fan-gao-225861","Trees and undergrowth (July - )",[3239,3240,6957,7660,23139,7,13894,7532,23140,16621,23141,23142],"笔触鲜明","白色小花","自然植被","地面植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea228c0beead6233b82cb775ef891b6b.jpg",[3244],{"id":23146,"slug":23147,"title":23148,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":23149,"thumbUrl":23151,"material":808,"size":809,"collection":3244,"collections":23152,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":985},225842,"the-garden-at-the-asylum-at-saint-remy-fan-gao-225842","The garden at the asylum at Saint Remy",[3239,3240,28,10510,9949,8252,502,7,1621,69,411,5404,16504,8253,23150,15578,13894,70],"开花树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cf7757baff05fbba965fb0a000e802.jpg",[3244],{"id":23154,"slug":23155,"title":23156,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":23157,"thumbUrl":23159,"material":808,"size":809,"collection":3244,"collections":23160,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":49},225773,"landscape-at-saint-re-my-enclosed-field-with-peasant-fan-gao-225773","Landscape at Saint-Rémy (Enclosed Field with Peasant)",[3239,6957,9096,9097,3148,10854,2795,5404,9952,35,7,1113,5405,23158,38],"灌木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd50c19cf3f69bb5b337d215962d61059.jpg",[3244],{"id":23162,"slug":23163,"title":23164,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":23165,"thumbUrl":23166,"material":808,"size":809,"collection":3244,"collections":23167,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":985},225758,"ha-user-in-auvers1-fan-gao-225758","Häuser in Auvers1",[3239,3240,6957,35,10514,9084,7,411,3148,3295,5371,5404,9952],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdabe4af1ff762195deae71c5eec1f91.jpg",[3244],{"id":23169,"slug":23170,"title":23171,"dynasty":3235,"author":434,"museum":459,"description":23172,"tags":23173,"thumbUrl":23174,"material":179,"size":179,"collection":179,"collections":23175,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},225303,"fu-shi-hui-28-yi-ming-225303","浮世绘28","这是一幅氤氲着水汽的郊野水乡图景。低缓柔媚的远山晕开暖粉霞光，将清浅暮色揉进青绿坡峦。黛色屋舍错落栖于洲渚，屋畔林木蓊郁苍润，漾开的水波里，一棹扁舟静浮，渔翁独守着满水闲寂。\n\n画面用色清和雅致，平涂晕染间带着侘寂诗意，将郊野日常的闲逸铺陈开来。疏朗的构图里藏着温润安宁，仿佛能漫出水汽与草木清香，把自然村居的禅意融在方寸画间，尽显和风的幽玄雅致。",[15217,11574,28,30,35,32,115,7,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07c8c4f0c1a7aba20e07bf3f989d0e3.jpg",[],{"id":23177,"slug":23178,"title":23179,"dynasty":3235,"author":434,"museum":459,"description":23180,"tags":23181,"thumbUrl":23182,"material":179,"size":179,"collection":179,"collections":23183,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},225302,"fu-shi-hui-26-yi-ming-225302","浮世绘26","清月垂悬远山之巅，将夜色晕成柔润水色。暖黄沙洲缓缓铺展，与幽蓝河湾错落相拥。石拱桥静卧水面，行人缓行其上，把清寂夜色揉进浅淡烟火气。\n\n右侧山坞间的屋舍藏在深翠林木中，檐角轻挑月色，几艘渔船系在浅滩，随波轻晃。画面冷暖色调交织碰撞，晕开静谧诗意，将水乡月夜的闲趣铺陈开来，带着日式风物独有的侘寂清宁，把寻常烟火揉进朦胧月色里，绘就一方松弛悠然的夜泊小景。",[15217,28,30,63,64,2316,62,7,66,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a1b573bd1eedc319d19e2075a3be6b.jpg",[],{"id":23185,"slug":23186,"title":23187,"dynasty":223,"author":381,"museum":459,"description":23188,"tags":23189,"thumbUrl":23190,"material":179,"size":179,"collection":179,"collections":23191,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},224501,"shan-shui-ce-kai-er-shi-tao-224501","山水冊开(二)","此作以水墨淡彩写就江南水乡之景，构图虚实相生，上部题诗留空疏朗开阔，下部绘景层次分明。近岸坡石上孤屋临水，旁植古松垂柳，枝条轻拂水面，野意悠然。中景水村错落，粉墙黛瓦隐于林木间，渔舟漾波，渔人往来作业，鲜活尽显水乡日常烟火。\n\n笔墨简率松灵，山石林木多以点染而成，不重精描细摹，以写意之趣托出萧散淡远的意境。题画诗与画面浑然相融，诗画映发，尽显文人画清雅逸致，将江南渔隐的闲淡安宁娓娓道来，暗含画者寄情丘壑的隐逸襟怀。",[23,24,25,385,114,28,118,30,115,64,35,7,639,117,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c8d79112bf34afe23e5983c9cb11e3.jpg",[],{"id":23193,"slug":23194,"title":23195,"dynasty":223,"author":3775,"museum":459,"description":23196,"tags":23197,"thumbUrl":23198,"material":179,"size":179,"collection":179,"collections":23199,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},224492,"ni-gu-tuo-gu-tu-zhou-wu-li-224492","拟古脱古图轴","《拟古脱古图》是清代吴历创作的纸本墨笔画。\n本幅右上吴历自题：“陶渊明‘采菊东篱下，悠然见南山’唐宋人和之者多，独韦应物‘采菊露未晞，举头见秋山’真为绝和。\n画之拟古亦如和陶，情景宛然更出新意，乃是脱胎能手。\n小重阳日墨井道人。\n”下钤“吴历之印”（白文）、“墨井”（朱文）。\n鉴藏印有“莱臣心赏”、“虚斋审定”2方。\n画家在自题中以唐宋人和（音hè）陶渊明“采菊东篱下”名句为例，说明了绘画创作中拟古与脱古即继承与发展关系，同时也为此幅画作的创作旨意作了诠释。\n此画仿元代王蒙山水，但在皴法上长条披麻皴的运用与王蒙的牛毛皴有所不同，构图也不似王蒙的绘画那么饱满，与王蒙的峰峦重叠相比，吴历的山水更接近真山实水，真实感较强。\n吴历将前人的绘画技法融会贯通，用笔严谨，厚朴沉着，笔意高淡，气韵深淳，体现出自己的风格特点，虽是仿古之作却有画家自己的面貌和新意。\n庞莱臣《虚斋名画录》著录。\n吴历（162—1718）清康熙间常熟人，字渔山，自号墨井道人，又号桃溪居士，学经于陈瑚，学诗于钱谦益，学画于王时敏、王鉴，学琴于陈岷，以山水画闻名于清初画坛。\n康熙十四年（1675）前后人天主教，教名西满沙勿略。\n二十一年（1682）在澳门入耶稣会，又取西姓雅古纳。\n二十七年（1688）任神父，其后在上海、嘉定等地传教。\n所撰《墨井诗抄》2卷《三巴集》1卷《画跋》1卷于卒后次年由弟子陆道淮刻印传世。",[23,24,25,202,114,118,30,63,64,7,35,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fe265c9fc33d18c0b8c97edc2c07bd.jpg",[],{"id":23201,"slug":23202,"title":23203,"dynasty":223,"author":2792,"museum":167,"description":23204,"tags":23205,"thumbUrl":23206,"material":316,"size":179,"collection":179,"collections":23207,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":1138},224469,"xi-shan-hong-shu-wang-hui-224469","溪山红树","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔，既显浓密厚重，又鲜艳夺目，光彩熠熠。",[23,24,25,475,28,118,153,119,120,30,7,968,62,204,206,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cf57d2a1886ceabf81e3e254b741a.jpg",[],{"id":23209,"slug":23210,"title":599,"dynasty":223,"author":23211,"museum":459,"description":23212,"tags":23213,"thumbUrl":23214,"material":1759,"size":179,"collection":45,"collections":23215,"showCount":22764,"zanCount":48,"manualWeight":48,"mainColor":128},224381,"shan-shui-tu-wang-guang-qi-224381","王光圻","此作用高远章法铺陈，以枯淡墨线勾出峭拔崖壁，焦墨点苔醒出山峦苍劲肌理，留白衬出险峰空寂高远的气势，壁立千仞的意境呼之欲出。\n\n近景林木错落，老松虬曲、杂木扶疏，以浓淡墨色区分枝叶层次，衬出林麓间茅舍的幽隐。清溪绕岸，浅墨晕染出水泽空濛之气。全幅笔法简率松灵，脱略繁缛细节，以意写形，尽显文人山水的萧散淡远之致，墨色干湿浓淡相济，于极简中勾勒出山林幽深清寂之境，笔底自带荒寒简古的林下风致，尽显文人写意山水的雅致风貌。",[23,24,114,202,30,7,116,117,35,1665,540,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7c446c0bf8824d74b46dced3c2cfe1.jpg",[45],{"id":23217,"slug":23218,"title":12994,"dynasty":133,"author":434,"museum":459,"description":23219,"tags":23220,"thumbUrl":23221,"material":230,"size":23222,"collection":179,"collections":23223,"showCount":22764,"zanCount":928,"manualWeight":48,"mainColor":49},223355,"fang-ju-ran-shan-shui-tu-yi-ming-223355","是图以高远法出之,山峦清旷,落英缤纷。近景陂陀杂树,渔舟归樵;中景夹谷深壑,流水湍湍,桥舍掩映;远景山峰耸峻,苍翠欲滴,烟岚奕奕。正是暮霞景明、秋意正浓之时,令人有如入武陵桃源忘返向路之感。在画法上,是图以长披麻皴为主,笔致清晰中见浑融,用笔枯而不涩,意境蓊秀萧疏。点苔疏密有致,很好地表现了草木华滋的气象。设色借鉴了黄公望浅绛法,明洁滋润,妍而不甜。此种画风,明显受到了其挚友王鉴的影响。然而,在萧疏简远的气息追求上,比之王鉴是有过之而无不及的。",[2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由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： 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厘米",[],{"id":23841,"slug":23842,"title":23843,"dynasty":18,"author":713,"museum":56,"description":23844,"tags":23845,"thumbUrl":23846,"material":360,"size":23847,"collection":179,"collections":23848,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},232773,"xue-shan-tu-juan-liu-song-nian-232773","雪山图卷","刘松年，约生于1155年，卒于1218年，钱塘（今浙江杭州）人，南宋著名画家，与南宋画家李唐、马远、夏圭合称为“南宋四大家”。\n刘松年有暗门刘的称号，暗门就是清波门，所以刘又号刘清波。他先为画院学生，光宗时期担任画院待诏。在画院工作期间，因成绩斐然，宁宗皇帝还曾给刘松年丰厚的物质奖励。他在画院体系地位也很尊崇，人们以绝品来对待刘松年及其绘画。\n刘松年绘画上，初学李唐、张敦礼，又继承了董源、巨然的部分艺术特征，严谨，典雅，清丽。他的题材多为江浙地区的风貌，西湖，茂林，修竹等。刘松年为人称道的地方，是发展了李唐大笔挥洒的斧劈皴，衍生出刮铁皴。这种皴法基本以小笔触为主，更加细腻。刘松年多园林小景，人称“小景山水”。\n刘松年除了山水之外，同时在人物画、界画、花鸟上，也水平甚高。据传，北京故宫博物院现藏《中兴四将图》，便是他的作品。这幅画人物生动，描绘精到，是宋代写实人物画的佳作。此外，他的《便桥会盟图》、《风雪运粮图》等人物故事画，也在中国绘画史上赫赫有名。此外，他的宗教画，罗汉等形象，则建立了中国佛画的一派典范。\n历史上流传下来的刘松年作品，大约有九十幅左右。这些作品真伪难辨。刘松年及其作品研究，是学术界以后仍然要力度加强的部分之一。",[23,152,24,25,26,114,30,118,1080,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae02117c5bf69987bd9f56214a0e41ac.jpg","21.6×142.6厘米",[],{"id":23850,"slug":23851,"title":197,"dynasty":54,"author":23852,"museum":459,"description":23853,"tags":23854,"thumbUrl":23855,"material":360,"size":23856,"collection":179,"collections":23857,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},232635,"xi-shan-xing-lv-tu-leng-qian-232635","冷谦","冷谦，元末明初武陵人，字启敬，道号龙阳子，初为僧人，后习儒，入道隐杭州吴山，博学，精通易经。著有琴书《琴声十六法》、养生学著作《修龄要指》。明朝协律郎。据说与刘秉忠相交，担任协律郎时已经年过百岁。世传其化鹤入瓶，事甚诡异。",[23,24,25,114,61,2570,30,7,462,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fcf4a51cb2d9205e685b3b317e840a0.jpg","45x33厘米",[],{"id":23859,"slug":23860,"title":23861,"dynasty":3235,"author":23862,"museum":459,"description":23863,"tags":23864,"thumbUrl":23870,"material":808,"size":809,"collection":179,"collections":23871,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},232276,"wei-lian-a-dao-fu-bu-ge-luo-2-wei-lian-a-dao-fu-bu-ge-luo-232276","威廉·阿道夫·布格罗2","威廉·阿道夫·布格罗","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n1875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[3239,23865,4311,28,61,23866,170,411,7,64,1376,6117,23867,23868,18385,7527,23869,5426],"新古典主义","天使","花环","裸足","田园场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967a547850493b6d8e640c4dd6471c11.jpg",[],{"id":23873,"slug":23874,"title":599,"dynasty":133,"author":1837,"museum":167,"description":23875,"tags":23876,"thumbUrl":23877,"material":360,"size":23878,"collection":179,"collections":23879,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":128},232256,"shan-shui-tu-zhao-meng-fu-232256","溪涧、泉松水榭桥文房用具文玩（琴棋书画）香炉．火盆瀑布高士（士人、隐士）侍从（侍女、童仆） 家具（屏风）",[24,25,202,152,28,118,114,30,7,61,117,64,69,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e350d4065062d4a7428a6d1c958bfbc.jpg","本幅 57x30.9公分、全幅 56公分",[],{"id":23881,"slug":23882,"title":23883,"dynasty":3235,"author":434,"museum":459,"description":23884,"tags":23885,"thumbUrl":23886,"material":808,"size":809,"collection":179,"collections":23887,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},231643,"shi-ting-shi-dai-jiu-tu-ping-feng-di-1-ping-yi-ming-231643","室町时代 厩图屏风第1屏","左侧林园寒梅绽雪，仙鹤临水伫立，石畔流泉衬出幽寂古雅的闲趣。右侧厩房内，仕女团坐低语，栏中骏马昂首腾跃，仆从正打理鞍辔，将宅邸日常的烟火气静静铺展。\n\n古旧柔和的色调晕开岁月的质感，细腻线条勾勒出骏马的矫健昂扬与仕女的温婉神态，将林泉雅致与俗世日常相融，动静交织，晕染出旧日宅邸里平和悠然的浮生图景，藏着沉缓静谧的古韵意趣。",[24,28,29,174,90,61,1620,4124,64,63,69,70,7,881,12512,1855,1950,624,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdcb98befae1e2d016d8577385a6c21.jpg",[],{"id":23889,"slug":23890,"title":23891,"dynasty":54,"author":110,"museum":111,"description":23892,"tags":23893,"thumbUrl":23894,"material":360,"size":23895,"collection":179,"collections":23896,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":128},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,24,25,26,114,28,118,120,438,119,153,30,7,61,726,32,117,540,1665,116,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":23898,"slug":23899,"title":23900,"dynasty":18,"author":434,"museum":167,"description":23901,"tags":23902,"thumbUrl":23903,"material":360,"size":23904,"collection":179,"collections":23905,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":128},231400,"jiang-fan-shan-shi-tu-yi-ming-231400","江帆山市图","宋人《江帆山市图》画两峰回抱，山寺、野店隐现其间，山坳间有一座庙宇，依山建筑，山谷间则有云雾袅绕，飞鸟阵阵，一派黄昏景象。全幅在画船、人物、建筑、树木、水纹或其它景物的用笔都非常细腻精致，线条细挺，如对于船只结构及船上设备的描绘都非常精细确实，山寺、野店之建筑，比例正确，形式精美，人物虽小，却将人物的神态和形貌画得栩栩如生。用色简澹清雅，画幅虽小，却将山城点染得极为活泼而有生意。\n此幅无名款，从画风及造型来看，是北宋范宽（十世纪）、燕文贵（活动于十世纪末）一系风格。画两峰回抱。也以近似雨点的皴法，层层描写山石的质感与量感，笔法细密，运笔着墨皆具清劲苍秀之感。在构景方面，景物集中于右半边，笔墨虽简，但严谨写实，从画风看来，是一幅接近燕文贵时代的作品。",[24,114,118,26,30,1288,62,35,117,7,32,500,37,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf127e4d55b0438efbe3fb66c7bb2a33.jpg","28.6x44.1公分",[],{"id":23907,"slug":23908,"title":23909,"dynasty":223,"author":23910,"museum":459,"description":23911,"tags":23912,"thumbUrl":23913,"material":179,"size":23914,"collection":179,"collections":23915,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},231377,"yi-yuan-tu-ce-shen-cang-231377","怡园图册","沈苍","顾沄，字若波，号云壶、壶隐等。吴县（江苏苏州）人。工画山水，清丽疏古，得“清初六家”之长。怡园位于苏州，同治十三年（1874年）时任浙江宁绍道台的顾文彬购得此地，兴建怡园。由于顾文彬当时在外地任官，营造事宜由其子顾承主持，顾文彬特地嘱咐他多与画家商议。三年后园林建成，顾沄为绘怡园十六景，后又补绘四景。在苏州园林中，怡园是建造较晚的一座，顾文彬希望能荟萃诸园之长，从顾沄图中可以看到，《松籁阁》的画舫效法拙政园的香洲，《南雪亭》的石幢有似留园的经幢，《绛霞洞》的假山则模仿狮子林，其他如网师园的水池、沧浪亭的复廊等等都能在怡园找到痕迹。顾沄的《怡园图册》将观者带入园中，近距离地游赏各景。\n对研究怡园而言，最重要的是顾沄的十六景图和顾文彬的“词并序”。顾文彬的《怡园十六景词并序》共有十六段，前面有小序介绍园景，后面一阕小词阐发意蕴，与《十六景图》一一对应。这组景致按游览顺序展开，各景为先后关系，而非主次关系。怡园有幸留存至今，提供了将园图与实景对照的机会，从中可发现这套册页的写实程度之高。值得注意的是，传统山水画往往在明山秀水间点缀人物，提示观者应如何欣赏风景，但《怡园十六景图》则未画任何人物。这从侧面证明，顾沄和顾承的主要目的是再现景致。在《怡园图》中，园景成为重点，少了人物的干扰，观者反而可以更专注地投入其中，享受这一片天然的“无我之境”。",[23,24,59,28,29,30,62,116,7,117,64,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58131b67127eeb79a8a1cfa85c6f53b7.jpg","33.3×42.4×26",[],{"id":23917,"slug":23918,"title":23919,"dynasty":223,"author":4356,"museum":459,"description":23920,"tags":23921,"thumbUrl":23922,"material":179,"size":179,"collection":179,"collections":23923,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},230361,"shi-liu-ying-zhen-tu-ce-hua-ce-ren-xiong-230361","十六应真图册画册","青绿设色古雅沉静，山崖一隅苍松虬曲，苔点攒簇尽显苍劲古意。画中三人情态各异：袒胸束发的朗笑长者，布衣褶皱朴拙写意，满是山野散逸之气；身侧女子抬首远眺，眉目灵秀，衣袂轻盈柔和；幼童席地回望二人，憨态可掬。\n\n背景以淡赭晕染空蒙天色，石青铺陈崖壁，冷暖色调相映，拉开虚实层次。整幅用工笔兼写意，人物形神兼备，山水布景简而不空，将世外悠游的自在意趣融于尺幅间，把林下忘机的逍遥图景刻画得鲜活动人。",[24,25,385,29,28,61,7,117,923,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0090bfaa29ee878a050b82ecf118445.jpg",[],{"id":23925,"slug":23926,"title":4287,"dynasty":223,"author":16118,"museum":459,"description":23927,"tags":23928,"thumbUrl":23929,"material":179,"size":179,"collection":179,"collections":23930,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},230226,"fang-gu-shan-shui-shi-er-kai-yang-jin-230226","此作以淡彩晕染江南春岸晓景，堤岸垂柳柔丝拂水，水汽清润朦胧，晕开浅淡氤氲的晨雾。戴笠行旅骑牛缓行于田埂，为乡野添上鲜活意趣。远景山峦以淡墨轻扫，林麓含烟，归雁掠过长空，将平远山水的空阔疏朗铺陈开来。笔墨秀雅工致，设色明洁温润，把江南水乡的恬静诗意融于尺幅之中，尽显平淡天真的文人画韵致，将春日郊野的闲适悠然娓娓铺展，晕染出一派生机盎然的田园雅景。",[24,28,30,385,118,958,153,61,156,91,426,116,64,500,7,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387a052644e1585c611187534130e0d3.jpg",[],{"id":23932,"slug":23933,"title":19322,"dynasty":223,"author":23934,"museum":459,"description":23935,"tags":23936,"thumbUrl":23937,"material":179,"size":179,"collection":179,"collections":23938,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":128},230186,"shan-shui-li-zhou-zhang-yin-230186","张崟","淡墨晕染远山，烟岚轻笼，浑茫清寂。苍松虬劲横斜，松下茅舍内文士围坐，佐着满枝寒花暗香清谈。溪涧穿林而过，板桥通幽，行人缓步野径，漾出悠然野趣。\n\n此作用浅绛设色衬水墨皴擦，山石敷淡赭打底，墨苔点醒草木生机，温润雅致。疏密排布自然妥帖，将冬山清寒与文人心底雅趣相融，笔底晕开静穆闲逸，把幽居赏景、围炉晤谈的清冷快意藏在烟水林泉间，尽显寄情丘壑的悠然意韵。",[23,24,28,118,202,30,540,63,64,35,61,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb643fca24d4aa77796b788a14b21b290.jpg",[],{"id":239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珐瑯彩开光三羊图长方盒","清高宗在位时(公元1736〜1795年）的官窑。所产的瓷器，突出的特点是能把许多不同品种、不同火度的釉料用于一器之上。在仿古瓷及各种色釉器方面，品种也很多。乾隆窑瓷器釉较康、雍时期略显粗糙，一为乳白粉釉，一为略带青色的白釉。器型种类繁多，并出现了一些新奇的制品，如用瓷土制造的像生瓷，制作精巧，艺术价值很高。乾隆窑瓷器的纹饰，讲究画得规矩，所画多仿名家笔意，并开始有仿西洋的画法。颜色釉方面，以茶叶末釉烧得最为成功，并利用茶叶末加以变化的古铜釉，十分巧妙地反映出铜器的色泽、锈斑，制出仿铜器的作品。",[23945,23946,28,23947,23948,1525,12160,61,7,35],"珐琅彩","开光","陶瓷","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f7699f66d78bdff9e1da6c0f32f0db.jpg","瓷器精选",[23950],{"id":23953,"slug":23954,"title":23955,"dynasty":223,"author":647,"museum":459,"description":23956,"tags":23957,"thumbUrl":23958,"material":179,"size":179,"collection":179,"collections":23959,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":128},229028,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-229028","仿黄子久晴峦霁翠卷","此卷以浅绛绘江南丘壑，山峦延绵层叠，林木蓊郁苍秀，村居错落点缀水畔崖间，平远、深远兼具，铺展出清旷温润的山水胜境。\n笔墨承娄东家法，以干笔积墨反复皴擦，笔力苍劲老辣，墨色由淡及浓层层晕染，浑朴厚重中不失秀逸灵透，既谨守黄子久平淡天真的元人神韵，又融入自身沉雄苍密的风格特质。\n全作用笔绵密松灵，元气淋漓，咫尺长卷藏千里丘壑，融文人山水的笔墨意趣与林泉襟怀于一体，是摹古出新的精心佳构，尽显晚年炉火纯青的画艺造诣。",[23,24,25,26,28,30,118,60,153,120,119,341,342,7,35,62,63,116,206,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":23961,"slug":23962,"title":23963,"dynasty":223,"author":4731,"museum":459,"description":23964,"tags":23965,"thumbUrl":23966,"material":179,"size":179,"collection":179,"collections":23967,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},228951,"bie-yuan-guan-lan-tu-juan-yuan-jiang-228951","别苑观览图卷","此作以全景铺展别苑胜境，水天浩渺晕开朦胧烟霭，远山如黛卧于淡墨氤氲间。园林依山水错落排布，亭台廊榭形制工细严整，山石皴擦苍劲古拙，林木扶疏间点缀三两行人，衬出苑中雅静又暗藏生趣。界画技法精绝，屋舍梁柱、城垣路径分毫毕现，又以写意笔墨晕染烟波，将规整气派的苑囿与清逸空濛的江南山水相融，精工之中不失雅致韵致，尽现院宇山水合璧的精妙意境。",[23,24,25,26,59,28,29,30,62,116,7,117,69,61,90,342,500,70,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776ca4204dca827b152a3572e3d2c2a.jpg",[],{"id":23969,"slug":23970,"title":23971,"dynasty":54,"author":434,"museum":459,"description":23972,"tags":23973,"thumbUrl":23974,"material":179,"size":179,"collection":179,"collections":23975,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},228823,"ying-tu-yi-ming-228823","鹰图","这幅工笔设色花鸟，以双鹰为画面核心。两只猛禽或侧目远眺，或昂首凝望，身姿苍劲傲然。翎毛发丝尽染，笔触细腻入微，将猛禽的威严沉凝尽显无遗。\n\n古梅虬曲遒劲，寒花点点缀于枝桠，清寂雅致；嶙峋怪石边，艳红山茶绽于丛间，柔红破寒，晕开一抹生机。右下角飞泉直下，水流宛转灵动，打破画面沉静，动静相融自成韵律。\n\n棕褐底色晕染出幽谧山林氛围，工写结合间，既刻画出猛禽的雄健肃穆，又以花木泉石勾勒出清冷高古的意境，将山林幽寂与猛禽孤傲融为一体，尽显精妙写实功力，内敛悠长的意趣藏于笔墨之间。",[23,24,29,28,171,7060,4124,117,204,7,202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6425a6d54ecf9644f158bf0096b6915d.jpg",[],{"id":23977,"slug":23978,"title":23979,"dynasty":54,"author":13169,"museum":459,"description":23980,"tags":23981,"thumbUrl":23982,"material":179,"size":179,"collection":179,"collections":23983,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},228352,"hu-zhou-shi-ba-jing-xian-ding-song-xu-228352","湖州十八景－仙顶","此作用高远、深远法铺展丘壑，以干笔皴擦勾勒山峦筋骨，石体质朴苍拙，遍山松针攒簇，蓊郁深秀。蜿蜒山道盘绕幽谷，引视线拾级而上，崖顶朱红楼阁隐于翠色间，恍若世外梵宫。山坳茅舍幽藏，溪涧穿谷而过，山脚田亩横陈，将林泉野趣与山居烟火相融。笔墨苍劲老辣，设色淡雅清和，兼融浙派刚健与吴门文秀，既绘尽峰峦奇崛之态，又暗合仙境幽绝尘寰的逸韵，把出世高怀与俗世雅趣揉为一体，尽显明代文人心中的林泉雅志。",[23,24,25,385,28,118,30,62,7,117,64,426,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a8a320b1a8a8144d6247b75f4a65f5.jpg",[],{"id":23985,"slug":23986,"title":23987,"dynasty":133,"author":10373,"museum":459,"description":23988,"tags":23989,"thumbUrl":23990,"material":179,"size":179,"collection":179,"collections":23991,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":128},228269,"shi-ren-ce-ye-fang-cong-yi-228269","十人册页","此作以淡墨晕染平湖烟霭，汀渚远山含晕隐现，尽是秋水长天的空濛寥廓。岸畔水榭依坡临流，霜树轻红点破满目清寂，三两渔舟泛于波上，掠水飞鸟更盘活了静穆湖面。\n\n作者以干淡笔墨轻勾缓皴，舍繁复皴法，以晕染代勾勒，将江南秋浦的闲淡疏旷收于尺幅。通篇不着浓彩，只以水墨氤氲出林泉幽致，把寄怀山水的文人意趣藏在浅淡岚烟里，静中含动，淡而愈远，尽显山水小景中尚意抒情的雅韵，恍若将观者带入秋日水畔，共赴一场林泉闲居之约。",[23,152,24,25,385,114,30,115,116,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1968189c7a593c26b6ed83fc24cfd804.jpg",[],{"id":23993,"slug":23994,"title":23995,"dynasty":133,"author":434,"museum":459,"description":23996,"tags":23997,"thumbUrl":23998,"material":179,"size":179,"collection":179,"collections":23999,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},228190,"jin-bi-shan-shui-ye-yi-ming-228190","金碧山水页","此作以青绿晕染崖壁，石面肌理苍然古朴，崖巅古木虬曲横斜，丹红叶色点破秋日山岑的清寂。左侧林木扶苏，深浅墨色糅合淡青，尽显层叠苍润之意。\n\n溪山之间，策蹇行者徐行山道，林畔立者似在问询，山野幽居的闲适意趣随画面铺展。构图疏密有致，空阔留白予人遐想余地，设色古雅沉静，将秋日山林的萧散淡远晕染尽致，以小景见丘壑深致，尽显寄情林泉的元人山水意韵。",[24,25,385,28,27,30,7,90,61,244,207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48cb32e3f645aa67e7806a281a54bc9d.jpg",[],{"id":24001,"slug":24002,"title":24003,"dynasty":133,"author":6534,"museum":459,"description":24004,"tags":24005,"thumbUrl":24006,"material":179,"size":179,"collection":179,"collections":24007,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":128},227988,"shan-shui-shi-hua-tu-ye-gao-ke-gong-227988","山水诗画图页","此作用水墨淡设色晕染江南烟景，以留白铺陈云气，山峦如青螺浮沉雾海，似隐似现，尽显雨后初霁的空濛柔润。下方汀洲萦回，村居隐于深林，板桥跨水连岸，扁舟系于浅滩，草木苍润秀雅，处处浸透着湿润清和的初夏意韵。\n\n画面配题诗，诗画交融，将山野村居的幽寂闲适娓娓道来。笔致简淡松灵，墨色层次柔和，淡赭轻敷晕染，褪去浓丽，只留清远悠然，尽显寄情丘壑的隐逸意趣，于简淡间铺展出悠远禅意，将自然清旷与林下闲情融为一体。",[23,24,25,385,114,28,30,63,64,115,7,35,37,500,119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收藏，见《石渠宝笈三编》著录。\n本幅无款印。\n钤收藏印“仪周珍藏”一方。\n图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。\n画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[23,24,25,30,59,28,29,24022,1290,66,500,62,488,116,7],"长桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6193c1927a01527760b310dc59e09697.jpg",[],{"id":24026,"slug":24027,"title":24028,"dynasty":18,"author":24029,"museum":459,"description":24030,"tags":24031,"thumbUrl":24032,"material":179,"size":179,"collection":179,"collections":24033,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},227712,"hu-tian-ju-le-tu-juan-gong-kai-227712","壶天聚乐图卷","龚开","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,152,24,25,26,114,437,61,30,7,2223,1855,7040],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4894a30ae63717fc0a21742c8b4efc20.jpg",[],{"id":24035,"slug":24036,"title":30,"dynasty":223,"author":17274,"museum":459,"description":24037,"tags":24038,"thumbUrl":24039,"material":179,"size":179,"collection":179,"collections":24040,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":128},226637,"shan-shui-pu-ru-226637","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[23,152,24,25,202,28,118,30,63,64,61,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfafb3f4a22295b4ee5698a9d0333c4.jpg",[],{"id":24042,"slug":24043,"title":24044,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":24045,"thumbUrl":24047,"material":808,"size":809,"collection":3244,"collections":24048,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":985},226040,"summer-1874-mo-nai-226040","Summer, 1874",[3239,7526,24046,3148,7,61,8242],"夏季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae6cd20aa093c954df90c3013aa2966.jpg",[3244],{"id":24050,"slug":24051,"title":24052,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":24053,"thumbUrl":24055,"material":808,"size":809,"collection":3244,"collections":24056,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":985},225935,"giverny-roses-and-waterlilies-mo-nai-225935","Giverny, Roses and Waterlilies",[7526,3239,10664,7418,9083,24054,10668,10666,22418,528,35,411,2246,2725,8252,7,2999,14595,8258],"户外写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9966ae20ecd5dd7785816cc86e135faa.jpg",[3244],{"id":24058,"slug":24059,"title":24060,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":24061,"thumbUrl":24062,"material":808,"size":809,"collection":3244,"collections":24063,"showCount":251,"zanCount":928,"manualWeight":48,"mainColor":985},225931,"flowers-in-the-garden-1930-mo-nai-225931","Flowers in the Garden, 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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑熟画派创始人。幼而好学，笃志绘画、寒暑不废。明崇祯十一年(1638)与弟云倩加入复社，次年为副贡生。入清不仕，闭门读书赋诗作画，或遨游名山大川。善画山水格疏秀，兼工人物，与孙逸齐名。",[24,25,385,28,30,62,115,7,117,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ddfa414b9c09b1f8ec44e4094725db.jpg",[124,45,1822],{"id":24475,"slug":24476,"title":3901,"dynasty":54,"author":13169,"museum":20,"description":16383,"tags":24477,"thumbUrl":24478,"material":15512,"size":16386,"collection":179,"collections":24479,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},236328,"shan-shui-ce-song-xu-236328",[24,114,118,385,30,64,289,579,61,244,500,2695,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e79ad6a3590e82867bbf6b58c0e8bd1.jpg",[],{"id":24481,"slug":24482,"title":23711,"dynasty":223,"author":3733,"museum":20,"description":3734,"tags":24483,"thumbUrl":24484,"material":40,"size":3737,"collection":179,"collections":24485,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},236136,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236136",[24,565,29,28,59,61,273,62,7,173,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe03543ef725c91fd88a376a93ca159bd.jpg",[],{"id":24487,"slug":24488,"title":24489,"dynasty":223,"author":381,"museum":459,"description":24490,"tags":24491,"thumbUrl":24492,"material":179,"size":179,"collection":179,"collections":24493,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},235892,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235892","原济黄山游图册","此作以奇崛危崖撑起画面骨架，焦墨勾勒崖壁嶙峋肌理，淡墨晕染出云气在峰谷间漫漶，明暗虚实铺就山谷的空寂幽深。谷内林麓掩映茅舍，三两旅人或策杖徐行，或围坐晤谈，将山水静穆与林下雅集的悠然意趣相融，动静相生。\n\n笔墨兼具苍润，湿笔晕染出山间空蒙水汽，枯笔皴擦刻画出岩石坚实质感，尽显黄山的清灵出尘。边角题诗与山水呼应，将探幽问道的雅趣藏于丘壑，尽显文人林泉栖隐之思。",[24,25,385,114,118,153,119,120,30,22023,61,90,117,7,1704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96f0d743602994e646e67e90a61dcf4.jpg",[],{"id":24495,"slug":24496,"title":6479,"dynasty":223,"author":3836,"museum":459,"description":24497,"tags":24498,"thumbUrl":24499,"material":179,"size":179,"collection":179,"collections":24500,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},235693,"shan-shui-tu-zhou-hua-yan-235693","此作为小青绿山水，以高远、深远法构景，主峰清隽挺秀，浅绛与青绿交融晕染，褪去浓艳尽显清和格调。留白铺陈云雾，将山谷晕染为空濛仙境，虚实相生间拉开山林纵深感。\n\n山脚林木繁秀，杂花点染枝头，流泉蜿蜒穿石而过，林麓间隐现山居人家，灵动雅致，暗合文人幽居雅趣。笔墨兼工带写，既有院体山水的精工细致，又具文人写意的秀逸灵韵，将丘壑幽寂、林泉清润的出尘意境娓娓铺展，尽显山水间的恬淡诗意。",[24,202,28,30,117,64,204,7,37,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff675f012ce8c073d8eabc9f62ada51e3.jpg",[],{"id":24502,"slug":24503,"title":5747,"dynasty":223,"author":4731,"museum":459,"description":5748,"tags":24504,"thumbUrl":24505,"material":808,"size":809,"collection":179,"collections":24506,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},235665,"shan-shui-ping-yuan-jiang-235665",[24,202,28,59,29,118,30,1080,7,63,35,1044,64,37,117,748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefca7b2dcd8a712e35fd50b73241e017.jpg",[],{"id":24508,"slug":24509,"title":5747,"dynasty":223,"author":4731,"museum":459,"description":5748,"tags":24510,"thumbUrl":24511,"material":808,"size":809,"collection":179,"collections":24512,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},235662,"shan-shui-ping-yuan-jiang-235662",[24,59,28,29,30,62,63,64,7,61,115,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238122f674eb97d8704f7c20926c2a83.jpg",[],{"id":24514,"slug":24515,"title":3724,"dynasty":223,"author":381,"museum":459,"description":24516,"tags":24517,"thumbUrl":24518,"material":179,"size":179,"collection":179,"collections":24519,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},235522,"yuan-ji-shan-shui-tu-ce-shi-tao-235522","此作用枯笔淡墨绘就山水幽居之境。远山清瘦层叠，烟岚轻笼峰腰，晕染出空濛淡远之致。近处怪石盘迂，苍松杂木错落生姿，茅舍半隐林麓，林下幽人对坐抚琴，尽得林泉高致。\n\n左侧题诗与画面相映成趣，笔致萧散简淡，以诗衬画，将静听松风、默然会意的雅逸心境铺展纸上。整体画风疏秀空灵，脱尽尘俗，以极简笔墨勾勒悠远林下之思，把文人耽爱山水、寄情丝桐的襟怀融于尺幅间，淡而弥永，意韵悠长。",[24,114,385,118,30,289,7,358,500,1474,206,6491,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9ee25418441b56893f0e81e4198921.jpg",[],{"id":24521,"slug":24522,"title":24523,"dynasty":54,"author":20842,"museum":459,"description":20843,"tags":24524,"thumbUrl":24525,"material":808,"size":809,"collection":179,"collections":24526,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},235205,"lu-ting-di-chang-tu-shan-ye-cheng-jia-sui-235205","芦艇笛唱图扇页",[152,24,25,2895,114,28,30,61,115,7,1376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e9dfd01fea6f4b5647438d2e21ef354.jpg",[],{"id":24528,"slug":24529,"title":3901,"dynasty":223,"author":9866,"museum":459,"description":24530,"tags":24531,"thumbUrl":24532,"material":179,"size":179,"collection":179,"collections":24533,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},235166,"shan-shui-ce-zhu-da-235166","此作以极简笔墨营构幽寂天地，左侧危崖突兀，枯松虬曲苍劲，崖石以淡墨勾勒皴擦，笔意老辣疏简。山坳间几椽茅舍错落隐现，淡写山乡野逸之态。\n画面大半留白，以虚代实，将江天寥廓空茫尽数铺展，留白处的题款与朱红印章冷暖相映，让素净画面多了一丝沉凝意蕴。\n笔底无多，却以疏淡荒寒之境藏尽孤高萧索的心境，把文人沉郁风骨融于山川丘壑，淡远空灵间，尽显水墨造境的悠长余韵。",[24,25,152,114,14666,118,2244,30,7,35,244,500,153],"https:\u002F\u002Foss.chuan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创作的一幅画。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。",[24,25,202,114,118,30,117,7,35,64,289,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5185714d6608092df8218c1174e80ce5.jpg",[],{"id":24551,"slug":24552,"title":24553,"dynasty":223,"author":13949,"museum":459,"description":24554,"tags":24555,"thumbUrl":24556,"material":808,"size":809,"collection":179,"collections":24557,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},235008,"shan-shui-tu-shan-ye-zou-zhe-235008","山水图扇页","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一。",[24,25,2895,30,28,118,117,7,488,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F912897ef9d1a3fe8291eca786da8f4b5.jpg",[],{"id":24559,"slug":24560,"title":3724,"dynasty":223,"author":381,"museum":20,"description":11258,"tags":24561,"thumbUrl":24562,"material":15512,"size":2092,"collection":179,"collections":24563,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},235002,"yuan-ji-shan-shui-tu-ce-shi-tao-235002",[24,114,385,118,30,579,35,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88700a465848b4bfef96013a08e833f.jpg",[],{"id":24565,"slug":24566,"title":8890,"dynasty":223,"author":3550,"museum":20,"description":24567,"tags":24568,"thumbUrl":24569,"material":8893,"size":8894,"collection":179,"collections":24570,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},234967,"wu-wai-tian-yuan-tu-ce-kun-can-234967","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[24,114,118,385,119,120,30,117,7,63,116,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26de27a970adfeee45dad7edbe20f4fb.jpg",[],{"id":24572,"slug":24573,"title":16391,"dynasty":54,"author":24574,"museum":459,"description":24575,"tags":24576,"thumbUrl":24577,"material":808,"size":809,"collection":179,"collections":24578,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},234839,"shan-shui-shan-mian-wei-zhi-huang-234839","魏之璜","魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,2895,114,30,7,35,63,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff739d6ab5a66ed9fd5bc38b5f836358.jpg",[],{"id":24580,"slug":24581,"title":24582,"dynasty":54,"author":1510,"museum":459,"description":24583,"tags":24584,"thumbUrl":24585,"material":179,"size":179,"collection":179,"collections":24586,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},234567,"shan-shui-ren-wu-shan-qian-gong-234567","山水人物扇","钱贡（公元16－17世纪初）明代著名画家，字禹方，号沧洲，吴县（今江苏苏州）人。\n山水不甚高雅，而位置可观。善人 物，间仿文、唐两家，却能逼真。万历十四年（一五八六）作山水图，四十年（一六一二）作渔翁乐图，继承南宋刘、李一派及唐寅画法，有仿唐寅人物大幅几能乱真。从艺活动在万历间。\n钱贡画山水“往往出入文征仲太史。”后人曾把他作为文征明门人之高弟。人物则“尤其所长”，“仿唐伯虎大幅，咄咄逼真”，继承了唐寅的人物大幅之风格，所画几可乱真。（《明画录》）\n其作品多旧藏于清宫内，其中录于《石渠宝笈》者甚多。绘画风格颇得清帝青睐，其作乾隆御题者众。\n《明画录》、《无声诗史》、《书史会要》、《中国版画研究重要书目》",[24,2895,28,30,61,115,7,117,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9cf9fc6383b90fab6279bc982778d65.jpg",[],{"id":24588,"slug":24589,"title":24590,"dynasty":54,"author":24591,"museum":459,"description":24592,"tags":24593,"thumbUrl":24594,"material":179,"size":179,"collection":179,"collections":24595,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},234491,"juan-dong-ting-ye-yue-shan-zhu-yin-234491","隽洞庭夜月扇","朱胤","明清时期，每逢中秋佳节，文人墨客们总会创作许多关于中秋赏月的扇面小品，相互赠予，以表思念团聚之情。",[24,25,2895,114,118,30,2316,7,117,1290,500,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7189ad8459fc1b6f9a24ecaf33e0dcfd.jpg",[],{"id":24597,"slug":24598,"title":3901,"dynasty":223,"author":24599,"museum":20,"description":24600,"tags":24601,"thumbUrl":24602,"material":506,"size":179,"collection":124,"collections":24603,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},234320,"shan-shui-ce-wang-jiu-234320","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[24,25,385,114,118,120,153,30,117,7,502,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36895b3e70d3dcf8d4166e70543c7c44.jpg",[124,45,1822],{"id":24605,"slug":24606,"title":24607,"dynasty":54,"author":24608,"museum":20,"description":24609,"tags":24610,"thumbUrl":24611,"material":1218,"size":179,"collection":179,"collections":24612,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},234238,"jiang-nan-sheng-gai-tu-juan-zhu-zong-ru-234238","江南胜概图卷","朱宗儒","朱宗儒如字忆云。秀水（今嘉兴）人。善画山水人物。为人放浪不羁，弃诸生而游江湖，同邑戴泾曾为之传。",[23,24,25,26,114,30,61,35,7,118,63,64,138,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95681a81d2439f3a780c79ee72315848.jpg",[],{"id":24614,"slug":24615,"title":24616,"dynasty":223,"author":497,"museum":20,"description":24617,"tags":24618,"thumbUrl":24619,"material":1218,"size":24620,"collection":179,"collections":24621,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","卧游图卷","“卧游”一语出自南朝刘宋时期（420—479年）的画家宗炳，他平生喜好出游，后因病而隐居，于是他将自己游历过的地方画成图画，悬于室内观赏，自谓“卧以游之”。1642年， 39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,24,25,26,114,30,118,119,120,153,341,342,7,116,63,64,115,244,35,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":24623,"slug":24624,"title":24625,"dynasty":54,"author":4131,"museum":20,"description":24626,"tags":24627,"thumbUrl":24628,"material":360,"size":179,"collection":179,"collections":24629,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},234123,"shao-xi-chun-se-tu-juan-wen-jia-234123","苕溪春色图卷","本作品体裁是五言律诗，作者是弘历。弘历即爱新觉罗·弘历，清朝的乾隆皇帝。\n吏隐薄青纶（嘉此卷在乌程官舍所作），消闲只合闲。晓岚迷野坞，春色满江关。玉磬参承处，洼尊点缀间。云烟生湿润，活脱米家山。\n爱新觉罗·弘历（1711—1799），清朝乾隆皇帝。乾隆帝是中国历史上实际执掌国家最高权力时间最长的皇帝，在位六十年，期间社会稳定，经济发展，文化繁荣，其文治武功颇为后世称誉。乾隆帝热衷诗词，据说一生作诗4万多首。",[24,25,26,114,30,118,119,153,120,7,63,64,116,156,358,500,661,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e66541a7ebd7c5075034cb06a0ac1b.jpg",[],{"id":24631,"slug":24632,"title":24633,"dynasty":223,"author":8347,"museum":20,"description":11475,"tags":24634,"thumbUrl":24635,"material":140,"size":179,"collection":179,"collections":24636,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},234110,"hua-hong-li-ping-shan-tang-shi-yi-juan-zhang-zong-cang-234110","画弘历平山堂诗意卷",[24,25,26,28,30,62,116,7,153,119,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7c98fe5c42d9369522f0ec973ba1a1.jpg",[],{"id":24638,"slug":24639,"title":24640,"dynasty":223,"author":8347,"museum":20,"description":11475,"tags":24641,"thumbUrl":24642,"material":140,"size":179,"collection":179,"collections":24643,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷",[152,24,25,26,114,28,30,540,62,63,64,115,116,153,7,35,66,500,2808,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":24645,"slug":24646,"title":24647,"dynasty":223,"author":381,"museum":20,"description":24648,"tags":24649,"thumbUrl":24650,"material":936,"size":24651,"collection":179,"collections":24652,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},234047,"yuan-ji-qi-feng-tu-shan-ye-shi-tao-234047","原济奇峰图扇页","此幅应是原济晚年之作。图绘黄山两处重要景观莲花峰和文殊院。构图新颖大胆，极尽含蓄隐现之妙。画幅中部的莲花峰以“截取法”表现，重点刻画了交叠错落的山顶，其山腰以下的部分利用“无中生有”的艺术手法，通过虚无飘渺的白云将它隐去，从而反衬出此峰的高深与雄伟，令整个画面也由此成为一个烟云流动、气势壮丽而又深邃空灵的小世界。",[24,2895,114,118,30,4556,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7869dbee107a474422c0cb53686895.jpg","纵17.5厘米，横49厘米",[],{"id":24654,"slug":24655,"title":24656,"dynasty":18,"author":434,"museum":20,"description":24657,"tags":24658,"thumbUrl":24659,"material":140,"size":24660,"collection":179,"collections":24661,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},234003,"feng-yu-gui-zhou-ye-yi-ming-234003","风雨归舟页","此图描绘风雨中江边的景象。 风和水在河面上升起，泛起涟漪和波浪。 一叶孤舟在风浪中前行，船舱里的一位乘客抬起头看向河岸。 近岸的芦苇、树枝、藤蔓在狂风暴雨中剧烈摇曳，与逆风行进的小船相呼应。 破石匆匆用笔，掀起狂风暴雨。 远处，天与水同色，云与山遥遥相望。 全天的浓烈和浓重都恰到好处，水墨是典型的南宋风格。",[24,25,385,114,28,118,30,115,7,117,64,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090650b9f7490bc6479d959f1e649073.jpg","25.6×25.3cm",[],{"id":24663,"slug":24664,"title":2088,"dynasty":223,"author":381,"museum":20,"description":2089,"tags":24665,"thumbUrl":24666,"material":360,"size":2092,"collection":179,"collections":24667,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},233127,"yuan-ji-shan-shui-ce-shi-tao-233127",[24,25,385,114,28,118,30,115,243,7,35,37,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20cb7a6d40f44117b887d4717d35798b.jpg",[],{"id":24669,"slug":24670,"title":24671,"dynasty":54,"author":801,"museum":20,"description":24672,"tags":24673,"thumbUrl":24674,"material":10526,"size":10527,"collection":179,"collections":24675,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},232999,"pei-tai-shi-jing-tu-ye-tang-yin-232999","沛台实景图页","唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。",[24,25,385,114,28,30,7,62,244,70,63,119,120,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1acb6d5b3fad39148cdbb7680a8d2d8.jpg",[],{"id":24677,"slug":24678,"title":4662,"dynasty":18,"author":713,"museum":459,"description":12932,"tags":24679,"thumbUrl":24680,"material":140,"size":24681,"collection":179,"collections":24682,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},232876,"ren-wu-gu-shi-tu-juan-liu-song-nian-232876",[23,152,24,25,26,29,28,59,119,120,153,61,62,70,7,117,2079,173,592,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83c436c11f7cca4cd37dca18f9de04f.jpg","26.1x446.5厘米",[],{"id":24684,"slug":24685,"title":24686,"dynasty":133,"author":909,"museum":459,"description":24687,"tags":24688,"thumbUrl":24689,"material":360,"size":24690,"collection":179,"collections":24691,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},232777,"jiu-long-shan-ju-tu-ni-zan-232777","九龙山居图","图中高峰耸立，草木秀润，山下苍松挺立，远山连绵。\n水畔平坡，隐者正立于枯枝下，观赏山色。\n画法取于王蒙，并带有盛懋皴法的特点。\n线条多用中锋，并以水墨渲染，笔法转折灵活，墨色苍润，气韵浑厚。\n该图大体可分为远景、中景、近景三段式：远景为高山峻岭，悬崖峭壁，主峰巍峨，形势十分险峻；中景为山腰，和悬崖峭壁夹江对岸的平缓山坡，期间树木和杂草丛生；近景为山坡和平地，长有几棵树干粗大的苍松和杂树，有的盘根虬曲，枝叶茂密，树荫下的茅亭座落期间，弯树下有一位长者，站在水畔平坡上，作回首之状，观赏山色，后有一僮子携琴随后。\n画面的右侧为开阔湖面，湖水平如镜，平湖滩渚参差。",[23,24,25,26,114,118,120,119,152,30,289,7,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379cd8c73503fa9cc5d8274d05b2de7f.jpg","27.9×146.1cm",[],{"id":24693,"slug":24694,"title":24695,"dynasty":54,"author":2636,"museum":551,"description":24696,"tags":24697,"thumbUrl":24698,"material":360,"size":24699,"collection":179,"collections":24700,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},232643,"you-he-ming-qin-wen-zheng-ming-232643","幽壑鸣琴","此画题诗：“万千层峦叠翠，千丈飞瀑洗尘心。愿我红弦的和声，是对松风古老的卑微回答。歌曲。” 这幅画存在不同的版本。学者们认为，这里看到的岩体的实体效果图和体积山体的构造更像是文征明的学生陆治（1496-1576）的特征。\n文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字征明，四十二岁起，以字行，更字征仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[152,24,25,202,28,118,30,117,204,7,206,64,4638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01cc776866ad354558b4fa54af76059.jpg","132 x 50.5 厘米",[],{"id":24702,"slug":24703,"title":24704,"dynasty":3235,"author":24705,"museum":459,"description":24706,"tags":24707,"thumbUrl":24708,"material":808,"size":809,"collection":179,"collections":24709,"showCount":350,"zanCount":928,"manualWeight":48,"mainColor":49},231738,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-er-ping-yang-yue-231738","室町时代 四季山水图屏风-二屏","杨月","这幅山水以淡墨晕染空濛烟岚，远近山境层次尽显。近景烟波之上，渔翁撑舟而行，舱内隐者安坐，江湖野趣扑面而来。半山栈道上行人独行，山腰楼阁藏于松荫叠嶂之间，山居雅意自生。\n山石以简劲斧劈皴写就，林木点染苍秀，干湿墨色相互映衬，将幽寂山景晕染出朦胧空寂的禅意，把江湖隐逸之思与山居闲趣融为一体，萧散淡远间尽显东方山水留白余韵，悠悠勾勒出侘寂悠然的世外清境。",[23,24,25,114,28,30,62,115,64,117,7,63,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79061f8926eabe2c2bff2a6fa4b3debc.jpg",[],{"id":24711,"slug":24712,"title":24713,"dynasty":18,"author":434,"museum":167,"description":24714,"tags":24715,"thumbUrl":24717,"material":179,"size":24718,"collection":42,"collections":24719,"showCount":350,"zanCount":928,"manualWeight":48,"mainColor":128},231083,"qing-xi-wan-mu-tu-yi-ming-231083","清溪晚牧图","画面铺陈出悠然的乡野暮色，清溪浅流舒缓漫过滩涂。一头水牛浸在水中，半隐于苇草间，抬首斜睨，慵懒消暑；另一头负着戴斗笠的牧童，踏水登上岸坡，牧童持杆闲坐，不见丝毫匆忙。侧畔老树盘根虬曲，坡岸蒹葭随风轻摆，两只水鸟振翅掠过天际，为静谧图景添上灵动生机。\n\n笔墨清润秀雅，以淡墨晕染出水色空濛的氛围感，将晚牧时分的松弛乡趣娓娓道来，把日常放牧的寻常景致，晕染成了意韵悠长的诗意画卷，尽显乡野间的自在野趣。",[152,24,25,5161,28,29,114,91,7606,156,64,7,1376,117,155,24716,30,2408],"牧歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81e794353e50d88ea22a19584279e31.jpg","75.6x44.3",[42],{"id":24721,"slug":24722,"title":24723,"dynasty":223,"author":3775,"museum":459,"description":24724,"tags":24725,"thumbUrl":24727,"material":179,"size":179,"collection":179,"collections":24728,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},230948,"qing-yun-dong-he-tu-wu-li-230948","晴云洞壑图","此作以高远、平远交织的构图铺陈画面，层叠山石逐层递深，拉开幽邃山水空间。以苍劲厚重的皴法勾勒岩壑，尽显山石嶙峋质感，林木疏密错落，枝梢意态宛然，细节处见细腻功力。右下角独行旅人衬出山峦雄浑辽廓，以人之渺小衬出天地空阔，更显山居清寂。右上角题字与画面融为一体，晕染雅致文气，整体气韵沉静萧疏，将林壑间幽远静谧的山居意境尽显无遗，尽显古典山水的文人意趣。",[23,24,25,114,28,118,30,24726,881,7,117,502],"洞壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd15f0936b3087b09b345f32de9721dc1.jpg",[],{"id":24730,"slug":24731,"title":24732,"dynasty":3235,"author":24733,"museum":459,"description":24734,"tags":24735,"thumbUrl":24737,"material":808,"size":809,"collection":179,"collections":24738,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},230646,"you-hua-titian-landscape-with-st-theodore-overcoming-the-dragon-google-art-project-ti-xiang-230646","油画-Titian---Landscape-with-St.-Theodore-Overcoming-the-Dragon---Google-Art-Project","提香","提香·韦切利奥，又译提齐安诺·维伽略（ Tiziano Vecelli或Tiziano Vecellio，约 1488\u002F1490年 – 1576年8月27日 ），英语系国家常称呼为提香（Titian），他是意大利文艺复兴后期威尼斯画派的代表画家。\n提香出生于意大利东北部阿尔卑斯山地区的卡多列。10岁时随兄长到威尼斯，在乔凡尼·贝利尼的画室学画，与画家乔尔乔内是同学。\n在提香所处的时代，他被称为“群星中的太阳”，是意大利最有才能的画家之一，兼工肖像、风景及神话、宗教主题绘画。他对色彩的运用不仅影响了文艺复兴时代的意大利画家，更对西方艺术产生了深远的影响",[3239,24736,923,61,1124,1855,30,8387,7,9952,244,8242],"素描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7cb8dcd1c64b95edbfe31e5fad71dc4.jpg",[],{"id":24740,"slug":24741,"title":3119,"dynasty":223,"author":472,"museum":459,"description":24742,"tags":24743,"thumbUrl":24744,"material":179,"size":179,"collection":179,"collections":24745,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},230178,"fang-gu-shan-shui-ce-wang-shi-min-230178","水雾轻笼远岫，淡墨晕开江乡初夏的朦胧底色。柳丝垂曳拂过浅溪，田埂蜿蜒牵起篱舍人家，浓荫将村居温柔包裹。水渚间汀草错落，小巧板桥横卧溪上，连起幽僻乡路。\n\n浅绛设色调清润柔和，笔触松秀温婉，远山以虚笔淡墨晕染，留白铺就空濛水汽，将溽热化作悠悠闲意。近林点染疏密相宜，把江南村居的日常烟火，晕成了悠然冲淡的诗意，藏着文人归田园居的清梦，尽显江乡夏日的静穆安闲。",[24,25,958,28,30,118,35,7,64,117,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b30a7edaa0aac1a21f11cf6e484343d.jpg",[],{"id":24747,"slug":24748,"title":24749,"dynasty":223,"author":647,"museum":167,"description":24750,"tags":24751,"thumbUrl":24752,"material":316,"size":24753,"collection":179,"collections":24754,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},229029,"lu-hong-cao-tang-shi-zhi-tu-ce-wang-yuan-qi-229029","卢鸿草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[24,25,385,28,30,118,243,7,64,204,117,37,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b855412011780d4faf10c5428332274.jpg","约纵：29cm，横：29.5cm",[],{"id":24756,"slug":24757,"title":3119,"dynasty":223,"author":2792,"museum":459,"description":24758,"tags":24759,"thumbUrl":24760,"material":179,"size":179,"collection":179,"collections":24761,"showCount":350,"zanCount":928,"manualWeight":48,"mainColor":128},229015,"fang-gu-shan-shui-ce-wang-hui-229015","此作用浅绛糅合青绿设色，层层铺展山水意趣。近汀杂木错落，渔舟泛于清波，野意悠然；中景山峦叠翠，飞瀑自岩间垂落，山巅古寺隐于葱郁间，藏露得宜；远景江天浩渺，淡墨晕染远山，虚实相生。\n\n笔墨师法元人，皴擦细腻勾勒出山峦肌理，设色雅致柔和，既带着宋画山川的浑厚静穆，又晕染出江南水乡的温润灵秀，师古而不泥古，将仿古意趣与自然生机相融，尽显清丽雅逸的山水意境。",[24,25,385,30,28,118,341,342,116,115,7,244,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0e0cce94c65cffbabf3b95f530cab5.jpg",[],{"id":24763,"slug":24764,"title":24765,"dynasty":54,"author":7795,"museum":459,"description":24410,"tags":24766,"thumbUrl":24767,"material":808,"size":809,"collection":179,"collections":24768,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},228854,"xun-yang-song-ke-tu-juan-wen-bo-ren-228854","浔阳送客图卷",[23,24,25,26,114,28,30,115,156,7,117,118,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5504d48b2948047af35986cb9bd270c8.jpg",[],{"id":24770,"slug":24771,"title":24772,"dynasty":54,"author":434,"museum":459,"description":24773,"tags":24774,"thumbUrl":24775,"material":179,"size":179,"collection":179,"collections":24776,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},228781,"fang-li-tang-bai-niu-tu-juan-yi-ming-228781","仿李唐百牛图卷","此作取景平远雅致，水岸林皋间意趣悠然。左侧群牛或立或卧，于浅滩闲散憩息，肌理厚重朴拙，憨态尽显。右侧童子策杖徐行，与近旁食草的牛只相映成趣，野逸生机扑面而来。\n\n林木皴染兼具苍劲与秀润，枯木虬枝疏密错落，新发柔条轻拂水岸，尽显春日郊野的清润之气。设色淡雅沉稳，赭石与墨色晕染出古绢沉静质感，追摹院体笔意又融入牧歌式恬淡，铺陈出物我相忘的山野闲趣，尽显旧朝牧放题材的风雅余韵。",[23,24,25,26,28,61,91,1855,7,30,60,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e62a1ad2b0378e674fd4cb6fc02c2d3.jpg",[],{"id":24778,"slug":24779,"title":24780,"dynasty":54,"author":55,"museum":459,"description":24781,"tags":24782,"thumbUrl":24783,"material":808,"size":809,"collection":179,"collections":24784,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},228446,"mo-li-tang-zhong-jiang-die-zhang-tu-chou-ying-228446","摹李唐重江叠嶂图","绘大江高岭，长松红枫，游人往来于山中茅舍，一派江村深秋美景，览之忘世外之情。设色雅静，用笔精诣，是仇英传世摹古浅绛山水精品。",[23,24,25,26,29,28,60,30,4848,31,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5a57fdde2240683083bccd12c1185c9.jpg",[],{"id":24786,"slug":24787,"title":24788,"dynasty":54,"author":10419,"museum":459,"description":24789,"tags":24790,"thumbUrl":24791,"material":179,"size":179,"collection":179,"collections":24792,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},228307,"jiang-shan-xue-ji-tu-shou-juan-xiang-sheng-mo-228307","江山雪霁图手卷","此作用淡墨晕染，留白拟积雪，绘就雪后江天。近岸寒林枯槎错落，崖巅孤亭孑立，可眺江色；山石以干笔皴擦，凝住冬日元气。远景江波澹澹，远山如墨痕晕散，孤鸟掠空衬出天地寥廓，满卷萧寒清旷之意。\n师法宋元笔墨，以极简之笔写尽雪霁荒寒，将文人幽居远眺的寄怀藏于山水间。后附题跋小楷娟秀，书画相映，在素淡笔墨里晕开空寂禅意，尽显古雅清逸的文人画风骨。",[23,24,25,26,114,118,30,818,117,7,116,156,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55f709ab0f0994569af64b386bef267.jpg",[],{"id":24794,"slug":24795,"title":13923,"dynasty":133,"author":4150,"museum":459,"description":24796,"tags":24797,"thumbUrl":24798,"material":179,"size":179,"collection":179,"collections":24799,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},228055,"qiu-shan-xing-lv-tu-wang-zhen-peng-228055","此作用色沉郁苍润，虽经年色泽淡褪，青绿晕染的层叠山峦依旧幽邃厚重，尽显秋山沉静萧疏之态。边角处板桥茅舍隐现，策杖旅人徐行于郊野，将行旅清寂融于林山空寂之间。咫尺扇面以山林为骨，把山居行旅的闲逸藏于一隅，以简淡笔墨铺展山野深幽，暗合文人林泉高致的寄怀，晕染出空灵淡远的山水意韵。",[23,24,25,2895,28,30,61,7,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa5a9693bc3afcdabe1cdbda25bf66e.jpg",[],{"id":24801,"slug":24802,"title":24803,"dynasty":133,"author":10132,"museum":459,"description":24804,"tags":24805,"thumbUrl":24806,"material":179,"size":179,"collection":179,"collections":24807,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},227990,"chun-jiang-tu-ma-wan-227990","春江图","此作用笔苍润秀雅，以淡墨晕染远岫平林，江波如练，渔舟轻漾，铺就江天寥廓之境。近岸危崖层叠，嘉木葱茏，间有丹叶点破春山碧色，山麓小径间策蹇徐行的旅人，为空寂江乡添上几分烟火意趣。\n全画以披麻皴写山石肌理，干湿互济，墨色苍润交融，诗题于画端，将春日江村的静穆野趣与文人逸怀相融，尽显悠远冲淡的林下幽情，晕染出江天春景的空濛诗意。",[24,152,25,202,114,28,118,119,153,30,4848,115,7,117,61,243,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e6fe60e76037c1ff051d0063db8088.jpg",[],{"id":24809,"slug":24810,"title":24811,"dynasty":18,"author":434,"museum":459,"description":24812,"tags":24813,"thumbUrl":24814,"material":179,"size":179,"collection":179,"collections":24815,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},227926,"xi-hu-chun-xiao-tu-ye-yi-ming-227926","西湖春晓图页","这幅小品以淡墨晕染出江南春晓的空濛诗意。柳丝垂岸，水乡村居错落掩映在烟树之间，黛瓦茅舍伴着新绿，尽是闲雅野逸的栖居意趣。湖面波色澹澹，渔翁摇橹泛于水上，寥寥数笔便将春日清晨的慵懒闲淡勾勒尽致。远景山峦隐在薄雾轻岚之中，佛塔尖顶刺破烟霭，晕染出悠远空寂的氛围感。整幅画作以简淡笔墨铺陈开西湖春晓的湿润清宁，不见繁复着色，全凭水墨层次晕开江南烟雨的朦胧诗意，将春日湖山的幽微之美藏于尺幅之间，尽显雅致禅意。",[23,24,25,2244,114,28,30,115,7,69,64,500,462,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efff2dd90e43563a3a2ba33dc58941d.jpg",[],{"id":24817,"slug":24818,"title":24819,"dynasty":18,"author":434,"museum":459,"description":24820,"tags":24821,"thumbUrl":24822,"material":179,"size":179,"collection":179,"collections":24823,"showCount":350,"zanCount":928,"manualWeight":48,"mainColor":49},227918,"geng-huo-tu-ye-yi-ming-227918","耕获图页","它将江南农耕的收种全序铺展在团扇尺幅间，陂塘田垄错落交织，揉成鲜活的郊野劳作长卷。水畔有人俯身插秧，田埂上乡人肩挑饱满稻穗，场院间众人打谷堆粮，连跨水板桥、茅舍林木都晕染出江南乡野的温润烟火。\n\n构图疏密相宜，把忙而不紊的农忙日常拆解入微，小人物身形虽小却鲜活灵动，或挥汗劳作，或歇憩闲谈，尽显田家夏耘秋收的质朴暖意。以淡墨轻晕远山近树，褪去繁复设色，将纪实的乡居劳作绘成充满生机的风物小诗，藏着对烟火日常的细致体察，把辛劳又鲜活的田家日常定格为隽永的乡野图景。",[23,24,25,2895,29,28,61,91,5233,63,64,7,30,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f946904c60ad2b0f73b01e183f9e3ae.jpg",[],{"id":24825,"slug":24826,"title":24827,"dynasty":18,"author":434,"museum":459,"description":24828,"tags":24829,"thumbUrl":24830,"material":179,"size":179,"collection":179,"collections":24831,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},227905,"qiu-ting-ying-xi-tu-ye-yi-ming-227905","秋庭婴戏图页","《秋庭婴戏》是24年7月1日 出版的图书 出版社: 上海书画出版社; 第1版 (24年7月1日) 丛书名: 国宝在线 平装: 4页 开本: 8开 ISBN: 78672664 条形码: 978786726648 尺寸: 29.8 22.4 .6 cm 重量: 281 g 这套丛书按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，放大至原寸，为学画者提供了下真迹一等的范本。\n本书对书中收入的每一幅名画进行了详尽的介绍与分析，部分局部放大，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，我们编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 婴戏题材在唐代便已出现，时间当与仕女画相差无几，但数量不多，技法也远未发展成熟。\n据《宣和画谱》记载，唐代著名人物画家张萱善旦画人物……又能写婴儿，此尤为难。\n盖婴儿形貌、态度自是一家，要于大小岁数间，定其面目髫稚。\n世之画者，不失之于身小而貌壮，则失之于似妇人。\n又贵贱气调与骨法，尤须各别。\n事实上，婴孩的画法脱胎于成人，因此，早期一些不成功的婴戏画中往往会具有一小大人的特征，铅华未洗，尚不能表现出儿童稚气天真的特质。\n正如唐代人物画的兴盛与其成教化，助人伦的辅政功能不可分割一样，宋代婴戏题材画之所以流行也同样有其社会背景。\n宋代重文治，虽然对外一直积弱不振，但内部局势却相对较为稳定。\n农业生产不断增长，城市经济日渐繁荣，工商业发达，人口集中。\n市民阶层迅速壮大并逐渐形成一支可以影响画坛趣味的力量。\n绘画从主要服务于宗教及贵族阶层的利益，转而开始考虑普通群众的需求。\n人物画的题材中，道释及帝王肖像一统天下的局面被打破，表现市井平民生活的风俗画开始兴盛，这其中便包括以孩童嬉戏为主要表现内容的婴戏题材画。\n当时的观念认为，儿童可以消灾解难，会带来吉祥幸福。\n例如，北宋熙宁年间京师久旱，皇帝便让京师的儿童祈雨；南宋时期，除夕时在皇宫里，呈王女童驱傩，装六丁、六甲、六神之类一等等。\n因此，宋代社会对儿童事业颇为重视，当时的京城中设有官办的慈心幼局类似于今天的幼儿园或孤儿院，还出现了私人的儿科大夫和儿童药房等。\n显然，这种社会时尚在当时的文艺创作中不能不有所反映，就绘画而言，可以说婴戏画正是在这样的背景下发展起来的。\n著名的瓷器孩儿枕也出现于这一时期。\n一 在宋代，擅作婴戏题材的画家已有相当的人数，如勾龙爽、刘宗道、杜孩儿、苏汉臣、徐世荣等。\n其中以苏汉臣最为著名，流传下来的作品也最多，以 收藏的《秋庭婴戏图》最引人观注。\n他的成就，从后世作婴戏图者多托名于之便可见一斑。\n杜孩儿，顾名思义，因擅画婴儿而得名，《画继》说他在政和间，其笔盛行，而不遭遇，流落辇下。\n画院众工，必转求之，以应宫禁之须。\n《画继》还记载：刘宗道，京师人。\n作《照盆孩儿》，以水指影，影亦相指，形影自分。\n每作一扇，必画数百本，然后出货，即日流布，实恐他人传模之先也。\n由此可见婴戏画在当时流行风靡的程度。\n又据《图绘宝鉴》所云：勾龙爽，蜀人。\n好丹青，喜为古衣冠，多作质野不媚之状。\n尤善婴孩，得其态度。\n国初为翰林待诏。\n徐世荣，画界画，兼工婴儿。\n然而，遗憾的是这些画家的作品均已失传，我们只能通过前人的寥寥数语来想像他们的风貌了。\n宋代的画坛还有一些精通人物、山水、花鸟的全能画家，如李嵩、刘松年等，他们也画过一些婴戏题材作品，而且都极为精妙。\n我们知道，宋人作画重视写生，宋代画家在再现客观世界的能力方面较之前代画家取得了长足的进步。\n因此，尽管总体而言人物画的地位远逊于晋唐，但画家的技能不仅不逊于前辈，通常还有过之而无不及。\n婴戏画便是很能说明问题的例子。\n宋代画家很好地解决了前代在画孩童时常出现的问题，他们已能够驾轻就熟地表现儿童那种特有的体貌和神态了。\n这种技术上的进步与宋代婴戏题材的流行可以说是一种互为因果的关系。\n婴戏题材除了在两宋较为兴盛外，明、清以及民国时期也十分常见，这也和其时代的经济、文化繁荣息息相关。\n然而，像宋代那样有大批一流画家参与婴戏题材创作的情况却不复再现，作品也殊难和宋画相媲美。\n纵观历朝历代的人物画，婴戏题材并不占有十分重要的地位，但却不可或缺。\n由于婴戏画反映的是生活中美好、祥和的一面，为广大群众所喜闻乐见，因此常成为表现节日里吉庆欢愉的吉祥画，而在近代，这一题材则逐渐转化成祈求安康、丰乐的年画而进入寻常百姓家了。\n宋 苏汉臣 秋庭婴戏图 轴 绢本 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 婴戏图 页 绢本 宋 苏汉臣 婴戏图 页 绢本 宋 佚名 冬日婴戏图 轴 绢本 宋 佚名 冬日婴戏图 轴 局部 宋 佚名 冬日婴戏图 轴 局部 宋 李嵩 货郎 图 卷 绢本 宋 李嵩 货郎图 卷 局部 宋 李嵩 货郎图 卷 局部 宋 李嵩 市担婴戏图 宋 李嵩 骷髅幻戏图 页 绢本 宋 李嵩 骷髅幻戏图 页 局部 宋 佚名 狸奴婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 局部 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 局部 宋 佚名 蕉阴击球图 页 绢本 宋 佚名 蕉阴击球图 页 局部 宋 佚名 百子嬉春图 页 绢本 宋 佚名 端阳婴戏图 页 绢本 元 佚名 杂技戏孩图 元 佚名 货郎图 轴 绢本",[23,152,24,25,385,29,28,61,3169,328,7,153,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfe0afb989a2894074a38cc534a2c6c.jpg",[],{"id":24833,"slug":24834,"title":11751,"dynasty":18,"author":434,"museum":459,"description":24835,"tags":24836,"thumbUrl":24838,"material":179,"size":179,"collection":179,"collections":24839,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},227865,"chun-jiang-fan-bao-tu-ye-yi-ming-227865","近岸怪石崚嶒，古松盘虬错节，笔墨苍劲朴拙，尽显山野清旷之气。江面波平水远，风帆饱胀满张，逐浪悠游，远山晕染在烟霭之中，虚实相生铺展出平远无尽的江天胜景。\n\n诗画合璧，将春水放舟的闲逸融入尺幅之间，以小景承载阔远意境，简淡空灵里暗合寄情林泉的幽远意趣，尽显含蓄隽永的古典山水审美意韵。",[23,24,25,2244,114,28,118,30,4848,726,7,117,500,24837,120,153],"帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f17c75276403ef9deb01b11f04db765.jpg",[],{"id":24841,"slug":24842,"title":24843,"dynasty":18,"author":434,"museum":459,"description":24844,"tags":24845,"thumbUrl":24847,"material":179,"size":179,"collection":179,"collections":24848,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},227852,"shan-dian-feng-lian-tu-ye-yi-ming-227852","山店风帘图页","此帧水墨小品以边角取景，于尺幅间铺展幽寂冬日山居。嶙峋崖石以斧劈皴利落勾勒，苍劲笔墨写出硬质肌理，枯木虬枝弯折古拙，尽显萧寒之态。山坳间的野店隐于林泉，淡墨晕染的远峰裹挟烟岚，朦胧悠远。画师以简淡洗练的笔法拉开远近层次，留白空灵清旷，将山野间荒寒冷寂的氛围渲染尽致，暗含着文人士大夫心向往之的静穆淡远林下幽思，尽显以小见大、以景寄情的隽永意趣。",[23,24,25,385,114,28,30,118,120,153,341,244,7,69,24846],"风帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d24dc4618a7f329647a52ced4edb35.jpg",[],{"id":24850,"slug":24851,"title":10773,"dynasty":18,"author":434,"museum":459,"description":24852,"tags":24853,"thumbUrl":24854,"material":179,"size":179,"collection":179,"collections":24855,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},227393,"gao-shi-guan-pu-tu-yi-ming-227393","此画为宋离、唐所画，无据可查，但整体画面陡峭优美。 在这幅画中，由远及近的山峦和竹林，都以恰如其分的虚实笔触描绘。 图中的瀑布悬垂至谷底，水雾缭绕。 溪流的一角，两位高手俯视着飞泉，神采飞扬，神情陶醉。",[23,152,24,25,28,118,30,61,1067,204,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9400dc5e0fc602c5191a698fc5fa38.jpg",[],{"id":24857,"slug":24858,"title":24859,"dynasty":18,"author":434,"museum":459,"description":24860,"tags":24861,"thumbUrl":24862,"material":179,"size":179,"collection":179,"collections":24863,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":49},227388,"guan-pu-tu-ye-yi-ming-227388","观瀑图页","史载王羲之曾在团扇上画小人物；其子王献之的《为桓温书并画乌牸驳牛扇》。《历代名画记》中载：梁·肖贲“曾于扇上画山水，咫尺内万里可知”。到了宋代，随着绘画艺术的蓬勃发展，特别是山水画、花鸟画在唐末、五代基础上得到空前的提高。文人与绘画的关系越来越密切，形成了文人画创作高潮。加上皇帝对扇面艺术的重视，书画扇面相应得到飞速发展，臻于顶峰。《书继》中载：“政和间，徽宗每有画扇，则六宫诸邸竞皆临仿一样，或至数百本。”两宋盛极一时的画扇，创作了大批不朽之作，流传至今为人们饱览了两宋绘画的高尚艺术。小至花鸟画中的野草闲花，昆虫禽鱼，都运以精心，出以妙笔。",[23,152,24,25,2244,28,30,118,61,204,7,244,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b16031931e91f7aed2413780f1bd06.jpg",[],{"id":24865,"slug":24866,"title":24867,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":24868,"thumbUrl":24869,"material":808,"size":809,"collection":3244,"collections":24870,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},226141,"vetheuil-1879-mo-nai-226141","Vetheuil, 1879",[7526,3239,7419,7418,9940,32,5404,9952,2796,23113,3374,7,7420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7992c8caf1090d3811363abf5e49389.jpg",[3244],{"id":24872,"slug":24873,"title":24874,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":24875,"thumbUrl":24877,"material":808,"size":809,"collection":3244,"collections":24878,"showCount":350,"zanCount":48,"manualWeight":48,"mainColor":128},226120,"the-spring-at-vetheuil-1881-mo-nai-226120","The Spring at Vetheuil, 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齐的苔点，给高崖峻壑增添了青绿之美，同时，它与以卧笔横点表现的树叶，形成点与点的呼应，全图在“点”的统一下，具有湿润华滋的艺术效果。",[24,25,114,28,118,385,30,7,63,64,156,117,9398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8241595b412879fd3462585f1b6fb1.jpg",[124,45],{"id":25333,"slug":25334,"title":11240,"dynasty":223,"author":11241,"museum":459,"description":11242,"tags":25335,"thumbUrl":25336,"material":179,"size":179,"collection":179,"collections":25337,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},238828,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238828",[24,152,25,28,118,385,30,64,154,7,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffddea088478d06d513f1a02eba3dd2.jpg",[],{"id":25339,"slug":25340,"title":25341,"dynasty":223,"author":11241,"museum":459,"description":11242,"tags":25342,"thumbUrl":25343,"material":179,"size":179,"collection":124,"collections":25344,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},238414,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238414","董诰蓬壶荟胜图册",[24,28,30,385,118,243,7,35,115,37,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b57bd7c4262f4b634c1cac62844ecf.jpg",[124,45],{"id":25346,"slug":25347,"title":25348,"dynasty":54,"author":434,"museum":459,"description":25349,"tags":25350,"thumbUrl":25351,"material":808,"size":809,"collection":179,"collections":25352,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},237926,"yuan-shang-tong-sui-chao-tu-zhou-yi-ming-237926","袁尚统岁朝图轴","烟霭笼着远山如浅黛晕开，古松虬劲拔起，撑开一片冬日清寂。枯木错落在庭院之间，屋舍内宾主围坐叙谈暖意融融，院外孩童嬉闹穿梭，将年节的鲜活烟火揉进冬景里。石桥横卧水畔，把远岫寒水和热闹院舍牵作一处。\n\n笔墨轻淡晕染山水空濛，枯枝干皴细致苍劲，人物衣色清雅鲜亮，将冬日萧寒与岁朝团圆的温情相融。静穆淡远的山水意趣，揉进俗世年关的鲜活意态，冷色调的冬景晕开融融年味，雅致文气与人间烟火相映成趣。",[24,25,202,28,29,118,30,61,62,7,70,500,37,35,73,3630,994,540,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a32233198d70983e2cb245da3bb5ba.jpg",[],{"id":25354,"slug":25355,"title":3901,"dynasty":223,"author":25356,"museum":459,"description":25357,"tags":25358,"thumbUrl":25362,"material":179,"size":179,"collection":124,"collections":25363,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":49},237896,"shan-shui-ce-cheng-hui-hao-237896","程徽灏","此作以枯淡笔墨绘就秋山幽居，浅绛设色晕染出清秋山林萧疏之致。山峦以披麻皴写意铺展，笔意松脱苍劲，淡墨晕开云气，衬出山峦空濛悠远。溪岸林木错落，木叶疏朗，茅舍板桥隐逸其间，野趣悠然自生。\n\n题款与画面浑然相融，留白衬出山川空寂，将林泉高致的隐逸情怀寄于尺幅间。简笔勾勒却骨力暗藏，淡墨轻敷而意韵悠长，尽显文人山水小品的雅致风骨，于浅淡中尽显林下风流。",[24,114,118,385,30,116,579,117,7,994,25359,25360,1430,25361],"山体","小亭","皴染结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e88565ddc648d685889817fc186807.jpg",[124,103],{"id":25365,"slug":25366,"title":3724,"dynasty":223,"author":381,"museum":459,"description":1590,"tags":25367,"thumbUrl":25368,"material":179,"size":179,"collection":179,"collections":25369,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},237768,"yuan-ji-shan-shui-tu-ce-shi-tao-237768",[152,24,25,385,114,28,118,30,289,35,7,500,2695,1290,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdf237b23a0eee60675e6fe8c367619.jpg",[],{"id":25371,"slug":25372,"title":5675,"dynasty":223,"author":3937,"museum":459,"description":3938,"tags":25373,"thumbUrl":25374,"material":808,"size":809,"collection":179,"collections":25375,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},237615,"hong-ren-shan-shui-ce-hong-ren-237615",[152,24,25,385,114,118,30,115,243,7,32,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad22d0932b85effa43f3ae60f6e208d.jpg",[],{"id":25377,"slug":25378,"title":3901,"dynasty":223,"author":25379,"museum":459,"description":25380,"tags":25381,"thumbUrl":25382,"material":360,"size":179,"collection":124,"collections":25383,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},237428,"shan-shui-ce-chen-jia-le-237428","陈嘉乐","「画中十哲」即董邦达、高翔、高凤翰、李世倬、允禧、张鹏翀、李师中、王延格、陈嘉乐、张士英。\n十哲为娄东派，他们崇古保守的画风，与「虞山画派」相依托，即这10位娄东派的画家，亦兼写虞山画派，如李世倬。他们又受「四王」的影响甚大，其主要以临摹复古为主，但其中也有自出机杼、别故致新的画家，如高凤翰、高翔等。\n陈嘉乐，字子显，号东原，历城（今山东济南）人。善山水，学王原祁，奕譓招之京邸，从学画。为朱文震画中十哲歌「十哲」之一。性孤介，殁后家贫如洗。《历代画史汇传补编》、《墨林今话》、《画传编韵》、《八旗画录》、《画家知希录》、《山东通志》、《家言随记》、《清画家诗史》。",[24,385,28,118,30,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc94b76754f2313b0c9f956f9fed64fb.jpg",[124],{"id":25385,"slug":25386,"title":25387,"dynasty":223,"author":25388,"museum":459,"description":25389,"tags":25390,"thumbUrl":25391,"material":179,"size":179,"collection":124,"collections":25392,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},237140,"tao-li-yuan-tu-zhou-wu-chao-237140","桃李园图轴","吴焯","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。\n仿晁公武、陈振孙书目体例，所辑《薰习录》（一作《绣谷亭薰习录》），是其专记所藏秘册、叙述原委、购书、读书记，与《读书敏求记》颇为相似，但篇幅较小，仅经部1卷，集部2卷。又有《瓶花斋书目》今已不传。精校勘，手自丹黄，每购一书，必兼数本，相互参比，如有考证心得，辄书诸卷首。小山堂赵昱回忆与吴焯的交往时曾说“绣谷藏书颇矜惜，不轻借人，独许予抄，予所藏多绣谷亭本。予偶得善册，先生见之亦必取以勘定。”乾隆三十八年（1773），诏开四库馆，采访天下遗书，次子吴玉墀以古书百余种进呈朝廷，与鲍廷博“知不足斋”、汪宪“振绮堂”、孙宗濂“寿松斋”、汪启淑“飞鸿堂”，各整比所藏，踊跃呈献，获赐《佩文韵府》1部及书数种。藏书印有“绣谷手典”、“疏雨薰习”、“流传勿污损”、“性命以之”等多枚。刻书甚富，达50余种，数千卷。与厉鹗、赵昱等往来极密，每得一秘本，彼此互相抄录，抄书用纸印墨格或绿格，版心刻有“绣谷亭”三字，有的左栏外刻有“西泠吴氏绣谷亭抄书”或“绣谷亭抄书”等字样。所藏书身后大多归于汪宪“振绮堂”、许宗彦“鉴止水斋”及马氏兄弟等家。藏书印有“绣谷所藏”、“绣谷薰习”、“尺凫”、“愿流传勿损污”等。著有《绣谷杂抄》、《药园诗稿》、《陆渚飞鸿集》、《玲珑帘词》、《经山游草》等。与厉鹗、赵昱合撰《南宋杂事诗》。",[24,25,202,28,29,118,30,61,62,63,116,3286,4056,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632fa63692d7afa3a89ed69ddf696e28.jpg",[124,1822],{"id":25394,"slug":25395,"title":25396,"dynasty":54,"author":25397,"museum":20,"description":25398,"tags":25399,"thumbUrl":25400,"material":360,"size":179,"collection":124,"collections":25401,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},237013,"xi-zhu-ce-zhu-ying-237013","西筑册","朱瑛","朱瑛《西筑》册（北京故宫博物院藏，蒙加斯列莫夫兄见告），号为十咏，止见其八，题曰“引泉”、“种竹”、 “负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[24,25,385,114,28,118,7,69,117,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81f0cd86aef5b2cadbeb5c25aee7d72.jpg",[124,45],{"id":25403,"slug":25404,"title":23711,"dynasty":223,"author":3733,"museum":20,"description":3734,"tags":25405,"thumbUrl":25406,"material":40,"size":3737,"collection":179,"collections":25407,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":49},236137,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236137",[24,28,29,61,7,8068,117,69,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85497fe316f8c11e9550b2671035e9b8.jpg",[],{"id":25409,"slug":25410,"title":23711,"dynasty":223,"author":3733,"museum":20,"description":3734,"tags":25411,"thumbUrl":25412,"material":40,"size":3737,"collection":179,"collections":25413,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":1138},236134,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236134",[24,28,29,385,61,170,1855,540,9360,3630,1665,70,173,2858,1044,7,1420,5788,863,117,8253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20536eaae71a5f285010637b4ffe3142.jpg",[],{"id":25415,"slug":25416,"title":25417,"dynasty":54,"author":3582,"museum":459,"description":25418,"tags":25419,"thumbUrl":25420,"material":808,"size":809,"collection":179,"collections":25421,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},235834,"qiu-jiang-fan-ting-tu-shan-ye-chen-hong-shou-235834","秋江泛艇图扇页","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,2895,28,30,7,64,115,117,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F594d35bd690e97efc840ff5ab3451139.jpg",[],{"id":25423,"slug":25424,"title":25425,"dynasty":223,"author":434,"museum":459,"description":25426,"tags":25427,"thumbUrl":25428,"material":179,"size":179,"collection":179,"collections":25429,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":49},235670,"yuan-yao-shan-shui-ping-chun-tai-ming-yue-yi-ming-235670","袁耀山水屏-春台明月","此画以淡晕烟霭织就春夜底色，圆月悬于浅青长空，将清辉温柔泼洒在湖山间。重檐朱阁倚山而建，飞檐翘角揽着月色，檐下窗棂隐约透出暖意，与周遭盛放的花树、垂岸的柔柳相映，将人工雅意揉入湖山清景。\n\n水面扁舟轻泛，渔人慢摇船桨漾开细微波光，和静雅的楼台形成动静对照。整幅设色柔润秀雅，以淡墨晕染烟岚，把春夜湖山的空濛温婉尽数铺展。无需浓墨重彩，便将春台望月的清和诗意藏在每处细节里，观之如临其境，似能嗅到春夜湿润花香，耳闻水波轻拍船舷的浅响，尽显东方山水悠然禅意。",[24,28,59,29,30,2316,62,7,34,1290,23376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe874e6605c1df06f174e906972637056.jpg",[],{"id":25431,"slug":25432,"title":24545,"dynasty":223,"author":2792,"museum":459,"description":25433,"tags":25434,"thumbUrl":25435,"material":179,"size":179,"collection":179,"collections":25436,"showCount":218,"zanCount":928,"manualWeight":48,"mainColor":128},235606,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-hui-235606","此作以高远兼深远之法写就，层峦叠嶂自右上逶迤铺展，山势雄秀兼具，留白晕染仿出初雪覆山的清润寒意。干笔皴擦间点缀湿墨晕染，勾勒出岩体质朴苍劲的纹理。\n\n林木疏密错落，枯荣交织，挺劲枝干带着摇曳之姿，涧水潺潺穿林绕石，掩映处的山居茅舍，衬出林泉幽寂的林下之致。右上角题诗补白，笔墨与文心相融，既得元人萧散简远的林下意境，又不失清丽秀润的自家风骨，师法前人却不泥古，将山川林壑的静穆生机晕染开来，尽显山水笔墨的隽永意趣。",[24,25,202,114,28,118,30,7,117,64,37,676,244,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ebab63a5fd626204d87b2f599add4a.jpg",[],{"id":25438,"slug":25439,"title":25440,"dynasty":54,"author":3786,"museum":459,"description":20918,"tags":25441,"thumbUrl":25442,"material":808,"size":809,"collection":179,"collections":25443,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},235530,"luo-ri-ning-lu-tu-shan-ye-lu-zhi-235530","落日凝露图扇页",[24,2895,28,30,7,117,62,2395,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffbdc761a4d6caac14521800be06d66.jpg",[],{"id":25445,"slug":25446,"title":25447,"dynasty":223,"author":22493,"museum":459,"description":25448,"tags":25449,"thumbUrl":25450,"material":808,"size":809,"collection":179,"collections":25451,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},235365,"qun-feng-ji-cui-tu-zhou-liu-yan-chong-235365","群峰积翠图轴","刘彦冲（1807～1847）清代画家、诗人。初名荣，字咏之，四川铜梁（今重庆铜梁）人，侨寓吴门（今江苏苏州），朱昂之弟子。家贫事母孝，不妄干人。工诗文，善绘事，山水、人物、花卉，一意师古，深造自得。山水初从朱昂之游，心得其秘。复肆力于古，临摹各家，无不得其精髓。泼墨作小米云山，亦翁郁可观。惜中年殁。",[24,152,202,475,28,118,3876,7,62,1704,115,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09b0faca13edb8b101856f7129f43a9.jpg",[],{"id":25453,"slug":25454,"title":25455,"dynasty":54,"author":7795,"museum":459,"description":24410,"tags":25456,"thumbUrl":25457,"material":808,"size":809,"collection":179,"collections":25458,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},235204,"qiu-shan-xing-lv-tu-ye-wen-bo-ren-235204","秋山行旅图页",[2895,24,30,118,28,117,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ec478acf51936bac79318864877b9b.jpg",[],{"id":25460,"slug":25461,"title":380,"dynasty":223,"author":3836,"museum":459,"description":25462,"tags":25463,"thumbUrl":25464,"material":179,"size":179,"collection":179,"collections":25465,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},235080,"shan-shui-tu-ce-hua-yan-235080","此作用枯笔焦墨写飞瀑垂落，嶙峋山石皴擦苍劲，水雾随墨色晕染漫开，将丘壑的厚重与水烟的清柔相融。一叶扁舟随波浮沉，愈发衬出江天空寂。\n左侧题诗行书纵逸跌宕，笔意与画中山水的萧疏浑然相合。整幅以干湿浓淡的笔墨变化，勾勒出世外幽居的清寂意趣，将山瀑奔涌的动，对晤林泉静穆的闲。诗画相生，以书入画，把幽人高隐的林下襟怀铺陈开来，尽显文人水墨抒情写意的雅逸格调。",[24,114,385,118,120,153,30,204,115,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5fdc80d96f85c6bb2327e0092e3558c.jpg",[],{"id":25467,"slug":25468,"title":6800,"dynasty":223,"author":2792,"museum":459,"description":12705,"tags":25469,"thumbUrl":25470,"material":808,"size":809,"collection":179,"collections":25471,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},234959,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234959",[24,25,385,28,118,60,30,117,7,500,37,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dab0f664c3f528b81070dd8fb5cd087.jpg",[],{"id":25473,"slug":25474,"title":25475,"dynasty":54,"author":8650,"museum":459,"description":23765,"tags":25476,"thumbUrl":25477,"material":808,"size":809,"collection":179,"collections":25478,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},234707,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234707","仿黄公望山水扇页",[24,25,2895,30,114,118,115,117,7,500,1474,34,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c6b2ad4920afc675476c281ad0a6d.jpg",[],{"id":25480,"slug":25481,"title":25482,"dynasty":223,"author":1533,"museum":20,"description":25483,"tags":25484,"thumbUrl":25485,"material":10656,"size":25486,"collection":179,"collections":25487,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},234701,"fang-mei-dao-ren-shan-shui-zhou-wang-jian-234701","仿梅道人山水轴","王鉴（1598年—1677年），字玄照，后改字园照，元照，号湘碧，又号香庵主。明末清初著名画家。江苏太仓人，出生于以衣冠诗书著称的太仓王氏家族。崇祯六年（公元1633年）举人，后仕至廉州太守，故称“王廉州”。王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。",[24,202,114,118,60,30,341,342,63,7,35,117,32,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f0d9e69ecf5b32522f0cc3f34bc390.jpg","78.1cmx42.6cm",[],{"id":25489,"slug":25490,"title":25491,"dynasty":54,"author":25492,"museum":459,"description":16872,"tags":25493,"thumbUrl":25494,"material":179,"size":179,"collection":179,"collections":25495,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":49},234563,"shi-han-shan-shui-shan-shi-han-234563","史汉山水扇","史汉",[2895,24,25,114,30,7,32,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435a865ef78526e2d875416755554819.jpg",[],{"id":25497,"slug":25498,"title":20917,"dynasty":54,"author":8650,"museum":20,"description":25499,"tags":25500,"thumbUrl":25501,"material":179,"size":179,"collection":179,"collections":25502,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":49},234477,"shan-shui-shan-ye-lan-ying-234477","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[2895,24,30,114,28,118,117,7,64,115,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5eef4e9e844dc82ec6dd66dffe0f98.jpg",[],{"id":25504,"slug":25505,"title":25506,"dynasty":54,"author":1884,"museum":459,"description":25507,"tags":25508,"thumbUrl":25509,"material":179,"size":179,"collection":179,"collections":25510,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},234209,"shu-hua-he-bi-juan-liu-jue-234209","书画合璧卷","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。",[23,152,24,25,26,119,120,114,118,30,116,7,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2727e34c1088f093d9673232a8eced1b.jpg",[],{"id":25512,"slug":25513,"title":25514,"dynasty":54,"author":110,"museum":20,"description":25515,"tags":25516,"thumbUrl":25517,"material":230,"size":25518,"collection":179,"collections":25519,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},234132,"zhi-tian-tu-juan-shen-zhou-234132","芝田图卷","沈周擅长山水、花鸟、人物各体，然以山水画最精，也最能鲜明地反映出他的艺术特色。归纳起来，可从内容和形式两方面论析。\n内容：即包括题材、立意、构思、思想、情感诸因素。\n沈周的山水画题材，主要可分为写实、抒情、仿古三大类。写实山水最富特色和意义，按内容又可分为访胜纪游、幽居庄园、雅集文会、寻访送别等几种类型。\n幽居庄园图，或表现苏州文人隐居的茅屋斗室，或描写精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和闲适的情致，寄托文人的理想和爱好，有时还寓以一定的象征意义，或缘物传情，或比喻人品。《东庄图》册（南京博物院藏），是描绘其师吴宽的庄园，二十一景均绚丽多姿，真实再现了老师居游皆宜的优美环境；《南山祝语图》卷（北京故宫博物院藏），刻划良医韩世光所居的“云堂”，环境既点出了主人公的身份和居处，又烘托出韩氏一心行医济世的高尚品德；《芝田图》卷（北京故宫博物院藏）则进一步采取人格化的表现手法，藉芝田遍地来表达主人公董君施德于人，天赐灵芝的主题。这些象征手法为后世吴门画家广泛采用。",[23,152,24,25,26,114,28,120,118,30,5233,7,35,243,502,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da0cce0291188d5f0a529cd4293de06.jpg","画323×33cm；跋64×33cm",[],{"id":25521,"slug":25522,"title":3901,"dynasty":54,"author":955,"museum":20,"description":3902,"tags":25523,"thumbUrl":25524,"material":1302,"size":3905,"collection":179,"collections":25525,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},234061,"shan-shui-ce-dong-qi-chang-234061",[24,25,385,114,118,30,64,289,7,3295,116,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa091a7ca4982bd9068ee0a650b07f502.jpg",[],{"id":25527,"slug":25528,"title":3901,"dynasty":54,"author":955,"museum":20,"description":3902,"tags":25529,"thumbUrl":25530,"material":1302,"size":3905,"collection":179,"collections":25531,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},234060,"shan-shui-ce-dong-qi-chang-234060",[24,25,385,114,118,30,540,117,64,500,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f30ce9ddfaf2159f725103c9460f248.jpg",[],{"id":25533,"slug":25534,"title":3901,"dynasty":54,"author":8650,"museum":20,"description":25535,"tags":25536,"thumbUrl":25537,"material":230,"size":12732,"collection":179,"collections":25538,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},233968,"shan-shui-ce-lan-ying-233968","蓝瑛（1585—约1666年），字田叔，号蜨叟、石头陀、西湖山民等，钱塘（今浙江杭州）人。擅画山水，早年以摹古为主，宗法唐宋元诸家，尤以习元黄公望、明沈周最有心得，笔致工整细润，墨色清淡妍静。中年于传统的绘画基础上形成自己的绘画面貌，笔墨苍劲雄浑，于疏简粗旷的线条组合中表现高峻突兀的江南葱郁之景。钱塘又称武林，后人将蓝瑛和从其学画的刘度、蓝孟、蓝深等合称“武林画派”。",[24,25,385,114,118,30,116,64,117,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7defdc594b8dc33e1658736fecc8c865.jpg",[],{"id":25540,"slug":25541,"title":23797,"dynasty":223,"author":381,"museum":20,"description":10255,"tags":25542,"thumbUrl":25543,"material":1218,"size":10258,"collection":179,"collections":25544,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},233773,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233773",[24,25,385,114,28,30,7,1289,64,117,61,120,153,118,116,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facfe15b15dd27ffce25b8a5334ea64a4.jpg",[],{"id":25546,"slug":25547,"title":2088,"dynasty":223,"author":381,"museum":20,"description":5685,"tags":25548,"thumbUrl":25549,"material":14848,"size":14849,"collection":179,"collections":25550,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},233419,"yuan-ji-shan-shui-ce-shi-tao-233419",[24,385,114,118,30,289,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da9e78838b6d56b888f9f6637ee1aae.jpg",[],{"id":25552,"slug":25553,"title":4072,"dynasty":223,"author":381,"museum":459,"description":4073,"tags":25554,"thumbUrl":25555,"material":360,"size":4077,"collection":179,"collections":25556,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},233383,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233383",[24,25,114,118,385,30,63,64,117,61,69,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a2cb0bf3c261545bb9cb2f6d60a55a.jpg",[],{"id":25558,"slug":25559,"title":25560,"dynasty":223,"author":2792,"museum":20,"description":25561,"tags":25562,"thumbUrl":25563,"material":230,"size":25564,"collection":179,"collections":25565,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},233232,"qing-shan-bai-yun-shan-mian-wang-hui-233232","青山白云扇面","王翚自称「于青绿法，静悟三十年，始尽其妙」（王翚《清晖画跋》），可见其青绿山水不仅是他对色墨融合技法的探索，亦融入了其个人的人生体验。王翚画山水不为「南宗」所囿，有集「南北宗」画家之大成，《读画辑略》称「画分南北二宗至石谷合而为一」，恽寿平亦称「古今来笔墨之至龃龉不能相入者，石谷则罗而致之笔端，融洽而出，神哉技乎」。\n（张庚《国朝画徵录》卷中）集多家笔法之大成的特点在其青绿山水中有突出体现，如王翚三十八岁（一六六九年）所作《青山白云图》扇题识中说：「尝见高尚书《夏麓晴云》、赵承旨《潇湘水云》、方羽士《奇峰出云》，此写《青山白云图》，参用三家笔意，而设色兼施僧繇没骨法，不知得以古人神韵否？」此外，王翚在设色上强调「轻」、「清」，他在《清晖画跋》中言：「凡设青绿，体要严重，气要轻清，得力全在渲晕……皴擦不可多，厚在神气，不在多也，气愈清则愈厚。」强调着色本身要实，气韵要虚。",[24,25,2895,28,114,30,7474,4114,7,117,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d74d1c3b7e9d91f8a42a81093d1e944.jpg","纵：22.9，横：23.9厘米",[],{"id":25567,"slug":25568,"title":25569,"dynasty":54,"author":2636,"museum":20,"description":25570,"tags":25571,"thumbUrl":25572,"material":936,"size":25573,"collection":179,"collections":25574,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},233118,"lin-xi-you-shang-tu-zhou-wen-zheng-ming-233118","临溪幽赏图轴","图中山坡上松柏、杂树高耸茂密，绿荫下溪水蜿蜒，溪上横卧小桥，桥上一老者临溪赏景，其后有童子侍立。用笔细谨，着墨精巧，意境清幽。",[24,25,202,114,118,30,7,578,579,64,61,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0989418a5c49480611f009704cb440.jpg","纵127.3厘米 横50厘米",[],{"id":25576,"slug":25577,"title":25578,"dynasty":18,"author":2914,"museum":459,"description":25579,"tags":25580,"thumbUrl":25581,"material":140,"size":25582,"collection":179,"collections":25583,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":49},232883,"ren-wu-shou-juan-chen-ju-zhong-232883","人物手卷","陈居中，南宋画家。嘉泰年间（1201-1204）画院待诏，生卒年不详。专工人物及马，杂画亦佳。擅画反映贵族游乐、出猎生活和表现少数民族放牧风情等题材，注重写实，观察入微，构图简洁，风格清新，富于生趣。明人题其《八骏图》称“精彩逼真似唐画，系临史道硕、韩幹之辈，为两宋人物第一神品也”（吴其贞《书画记》）。元代夏文彦《图绘宝鉴》谓其“布置着色，可亚黄宗道”。",[23,24,25,26,29,28,61,90,1855,30,7,1420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a8d26c75f65f46eee8b4627c5dcacc.jpg","29.8x229cm",[],{"id":25585,"slug":25586,"title":25587,"dynasty":54,"author":25588,"museum":167,"description":25589,"tags":25590,"thumbUrl":25591,"material":122,"size":25592,"collection":124,"collections":25593,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},232693,"qiu-du-shu-le-tu-ju-mao-shi-232693","秋读书乐图","居懋时","居懋时［明］吴县（今江苏苏州）人。\n节子。亦善画。《苏州志》",[23,24,25,202,114,30,118,117,204,7,35,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44755deef3b0cac993c0c25db5625a1.jpg","147.7x37.2厘米",[124],{"id":25595,"slug":25596,"title":25597,"dynasty":54,"author":3582,"museum":551,"description":25598,"tags":25599,"thumbUrl":25600,"material":140,"size":25601,"collection":179,"collections":25602,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},232647,"wu-xie-shan-tu-chen-hong-shou-232647","五泄山图","五泄山在浙江诸暨，浙江金华、杭州和绍兴之间，因有五潭之水，泛溢悬流，宛转五级，故日五泄。是陈洪绶的故乡。此图构图缜密，画面丰满，仅留右上角为天空。树林繁茂，山势高峭，清晰的山体轮廓线，干净利落的岩石断层，树木岩石以不同皴法表现，山石方硬以淡墨染之，富有层次，给人一种非常相似的远古的感觉，体现了陈洪绶一贯高古的格调。\n陈洪绶少年即喜画，10岁时就去杭州追随武林派的代表——山水画家蓝瑛习画。陈洪绶早年和壮年的山水画作品以及晚年部分人物画背景都可看出多了蓝瑛的影响。但陈画比蓝画更为清雅秀润，简洁古淡。翁万戈藏《陈洪绶早年画册》（1619年，时22岁）中《奇石小鸟》和《双松图》两副册页所画树石显然是师法元人。他早年的山水虽不成熟，但可看出他广师宋元诸家，集众所善，而尚显个性。美国克利夫兰艺术博物馆藏《五泄山图轴》很可能是他20至30岁期间之作。陈洪绶自幼至交周亮工提及，曾于1624至1625年间数度与陈洪绶同游五泄山。此画密不透风的构图，迂回盘旋的山势，强而有力的光影对比，体现画家在自然山水中的真实感受——阳光和阴影、压迫感十足的乱石、潺潺的流水、浓郁的树林。这是他早期山水画的杰出之作，之后作品再无此类手法的运用。\n陈洪绶是时代的代表，他的艺术同样根植于他所处的时代。尽管陈洪绶不属于高寿画家，但是他的艺术越趋晚年，越突出地彰显了中国传统艺术的精髓和民族风格。\n陈洪绶 (1598-1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名、晚号老迟、悔迟，又号悔僧、云门僧。浙江诸暨枫桥人。明末富有革新精神和独创风格的画家。祖上为官宦世家，至其父家道中落。陈洪绶幼年早慧，诗文书法俱佳，曾随蓝瑛学画花鸟。成年后到绍兴蕺山师从著名学者刘宗周，深受其人品学识影响。崇祯三年（1630）应会试未中。崇祯十二年（1639）到北京宦游，与周亮工过从甚密。后以捐赀入国子监，召为舍人，奉命临摹历代帝王像，因而得观内府所藏古今名画，技艺益精，名扬京华，与崔子忠齐名，世称“南陈北崔”。明朝覆没后，清兵人浙东，陈洪绶避难绍兴云门寺，削发为僧，一年后还俗。晚年学佛参禅，在绍兴、杭州等地鬻画为业。陈洪绶生性怪僻，愤世妒俗，身历忧患之时，所交师友多为正义之士。陈洪绶是一位擅长人物、精工花鸟、兼能山水的绘画大师。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。著有《宝纶堂集》、《避乱草》等作品集。",[152,24,25,202,114,118,30,7,994,117,204,206,501,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe63046bcfa80469e93c5b952548b3d1.jpg","118.3×53.2cm",[],{"id":25604,"slug":25605,"title":25606,"dynasty":54,"author":10419,"museum":167,"description":25607,"tags":25608,"thumbUrl":25609,"material":360,"size":25610,"collection":179,"collections":25611,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[23,24,26,114,30,118,119,120,153,117,7,64,63,116,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":25613,"slug":25614,"title":25615,"dynasty":54,"author":2636,"museum":459,"description":19847,"tags":25616,"thumbUrl":25617,"material":179,"size":179,"collection":179,"collections":25618,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图",[23,24,25,26,114,118,120,153,30,204,7,117,116,115,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":25620,"slug":25621,"title":25622,"dynasty":54,"author":25623,"museum":551,"description":25624,"tags":25625,"thumbUrl":25626,"material":360,"size":25627,"collection":179,"collections":25628,"showCount":218,"zanCount":928,"manualWeight":48,"mainColor":49},231545,"xu-ting-fei-pu-tu-zhang-ning-231545","虚亭飞瀑图","张宁","在中国绘画史上，张宁的名字并没有像沈周、文徵明那样引人注目。甚至于当人们讨论明代绘画的时候，张宁也很少被提及。作为一朝大臣的张宁并不是一位职业画家，但也绝不是一个票友，他的诗文、书法和绘画在当时就名动一时。如果注意到他的吴人身份，把他和王绂、刘珏等吴门先驱放在一起，便不难发现他在绘画史上是应该有一席之地的。无奈目前能够找到的张宁作品和资料并不是很多，史籍上关于他的记载也大多是他的政绩而非艺术，故这里对张宁的讨论也只能是抛砖引玉。\n张宁（1426—1496），字靖之，号方洲，一作芳洲，海盐(今属浙江)人；一作嘉兴(今属浙江)人；又作吴(今苏州)人。明朝中期大臣。景泰五年进士，授礼科给事中。丰采甚着，与岳正齐名，英宗尝称为“我张宁”云。成化中出知汀州，先教后刑，境内利病悉罢行之。后为大臣所忌，弃官归，公卿交荐，不起。能诗画、善书法，才思敏捷，诗文书画皆有名。性喜绘事，工人物山水。抒写烟月，点染林丘，为艺苑所珍。曾奉旨出使朝鲜，化解了朝鲜王室内部纷争。画兰竹赠朝鲜王李扶。张宁才高志大，英宗意欲重用。但他久居谏坛，直言无忌，为朝中权贵所恶。给事中王徽因弹劾大学士李贤而获罪，张宁率六科论救，由是渐与内阁相忤。后出为汀州知府，抑郁不得志，遂以病免职。家居30年，屡次被荐，终不复召。在家乡筑方洲草堂（为海盐著名的园林，今不存），以琴书自娱。张宁为文遵古法，才思敏捷，兼善画，著有《读史录》、《删改史论》、《方洲集》等。\n张宁首先是明朝中期见诸史载的一位大臣，同时也是一位卓有成就的诗人和画家。清徐沁《明画录》：“张宁字静之，吴人，画山水有声。”明朱谋垔《画史会要》：“张宁，字靖之，号芳洲，海盐人。景泰进士，官汀州知府。书画皆有名。”可见作为朝中大臣的张宁在当时书法绘画就很有名。\n明中叶以后，以沈周、文徵明为代表的吴门派取代浙派而盛极一时。沈周、文徵明都是吴（苏州）人，因此被称为吴门派。在沈周、文徵明之前的赵源、王绂、徐贲、陈汝言、刘珏、张宁等同样是吴人的画家，对沈周、文徵明等后来的吴门画派都有重要的影响，画法也有近似之处。只是当时还没有“吴门派”的说法。\n张宁同时具有双重身份，既是官僚，又是书画家。从他的文章里不难发现，他与同时代的画家有着密切的交往。米芾以喜欢奇石而闻名，明代画家谢环也喜欢奇石，张宁在他的《方洲杂言》提到：“观音寺衙衕寺僧所收谢廷循一石，方广三四寸，中劈为二，内函鱼骨一具，首尾皆全。”由此可见他与谢环的交情非同一般，他还曾为友人徐溥（时用）所收藏的谢环（廷循）的画上题过诗。\n张宁在中国画发展史上处于吴门画派形成之前，他和王绂、徐贲、陈汝言、刘珏等吴门画派的先行者对沈周和文徵明的影响在绘画史研究中已经引起了学者的注意。或许是因为未被列入职业画家的行列，他的作品见诸著录及馆藏极少。尽管可能绘画对张宁的“余事”，但其艺术水平丝毫不逊色于职业画家。张宁的绘画技法有着很明显的元代传统特征，尤其是元四家之一王蒙的影响。但张宁似乎不太喜欢王蒙那种凝重，他的作品并没有元人那种浑厚苍茫，而更多地倾向于表现秀雅和清旷的意境。",[23,24,28,118,202,30,204,116,7,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32ef3f130d45e39b134d17480d98bae.jpg","109.8 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38.1cm",[],{"id":25630,"slug":25631,"title":25632,"dynasty":54,"author":434,"museum":20,"description":25633,"tags":25634,"thumbUrl":25635,"material":40,"size":25636,"collection":179,"collections":25637,"showCount":218,"zanCount":928,"manualWeight":48,"mainColor":49},231357,"xuan-de-xing-le-tu-yi-ming-231357","宣德行乐图","明代宫廷绘画中有一类表现帝王生活和重大历史事件的作品。此幅描绘明宣宗朱瞻基便服檐帽在御园观赏各种体育竞技表演的场面。画面上从右至左依次为射箭、蹴踘、马球、捶丸、投壶，场面宏大繁复而又具体入微，生动地表现出当时宫中的文体娱乐活动。由于要反映特定的地点和环境，所以描绘了大量的建筑。此卷以工整细腻的写实手法按照历史原貌对明代皇宫的楼台殿阁作了荚绘实又概括的描绘，是研究明代宫廷历史以及皇家建筑的重要资料。",[24,152,28,29,61,90,156,4075,7,30,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fd15889dcb5d2ea930aa35fbfdc5d7e.jpg","纵36.7cm，横690cm",[],{"id":25639,"slug":25640,"title":25641,"dynasty":3235,"author":16915,"museum":459,"description":16916,"tags":25642,"thumbUrl":25643,"material":808,"size":809,"collection":179,"collections":25644,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},230588,"jiang-hu-shi-dai-xi-hu-chun-jing-tu-ping-feng-chi-da-ya-230588","江户时代 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动之姿。山间村舍错落，江上扁舟泛波，旅人、渔者隐于林泉，烟火意趣暗藏苍莽丘壑之中。用笔清劲秀逸，淡墨晕染出空濛悠远的氤氲气韵，将漫游所见的山水奇景与乡野闲趣融为一体，以文人视角定格千里江川的悠然意致，尽显清雅苍润的山水格调。",[23,24,25,26,114,28,118,30,117,7,62,63,64,115,116,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56cb2f0f807be7ba59799de60f9c362.jpg",[],{"id":25709,"slug":25710,"title":25711,"dynasty":133,"author":434,"museum":459,"description":25712,"tags":25713,"thumbUrl":25714,"material":179,"size":179,"collection":179,"collections":25715,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},228213,"shui-dian-mei-hua-tu-yi-ming-228213","水殿梅花图","以俯瞰之境铺展苑囿冬景，界画工致严整，飞檐翘角层叠错落，朱栏回廊勾连殿宇，尽显建筑雅致规制。\n\n几枝寒梅横斜殿侧，枯梢缀花，晕开清寂暗香。浅淡设色晕染古绢，色调沉雅温润，将水殿的萧寒静谧晕染开来。三两侍者缓行砖石步道，身形小巧更衬苑囿空阔安闲，恍可见殿内暖意与院外清寒相融，勾勒出冷而不寂的幽澹意境，尽显工整笔墨中裹挟的文人意趣。",[23,24,152,2895,59,28,29,62,4124,61,70,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd4e02411732e1885de9da57dc9098b.jpg",[],{"id":25717,"slug":25718,"title":25719,"dynasty":133,"author":434,"museum":459,"description":25720,"tags":25721,"thumbUrl":25722,"material":179,"size":179,"collection":179,"collections":25723,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":49},228208,"shan-ju-tu-ye-yi-ming-228208","山居图页","此作用笔简淡清润，近景陂陀之上古木虬曲，以浓墨点苔晕染，尽显苍拙老辣的笔力。侧畔水榭半隐树荫，寥寥数笔勾出幽居小筑的雅致。\n\n中岸垂柳如烟，浅笔轻写柔条拂水，与古木刚柔相映。远景山峦以淡墨披麻皴晕染，朦胧清寂，将江南水畔的空濛尽数铺开。\n\n全作以绢本浅设色晕染，墨色层次素雅，将文人幽居林泉、静赏烟水的隐逸意趣藏在疏淡笔墨间，尽显元画尚意的空灵雅致，静静铺陈出水畔山居的清寂安闲。",[23,24,114,30,118,7,35,1290,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91f6a520506b0be169e19c04ca4cbd4e.jpg",[],{"id":25725,"slug":25726,"title":25727,"dynasty":133,"author":4417,"museum":459,"description":25728,"tags":25729,"thumbUrl":25730,"material":179,"size":179,"collection":179,"collections":25731,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},228049,"liang-chang-cao-tang-he-juan-wang-yuan-228049","良常草堂合卷","此卷以清润淡墨绘就平远林泉，林木苍蔚，草堂幽隐烟峦水畔，尽显萧散简远的林下雅意，笔墨温润松秀，尽显元人山水尚意之风。\n卷后诸家题跋琳琅排布，行草篆隶各得其妙，笔意跌宕文辞清雅，与画作相映成辉。书画合璧间，藏尽彼时文人雅聚的清兴逸致，纸墨古雅韵致悠长，尽显元代诗书画一体的文人审美意趣。",[23,24,25,26,114,120,438,119,118,153,30,115,116,7,117,37,64,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7562e2b8bda6a783c5cd69409c12ec.jpg",[],{"id":25733,"slug":25734,"title":1002,"dynasty":133,"author":434,"museum":459,"description":25735,"tags":25736,"thumbUrl":25737,"material":179,"size":179,"collection":179,"collections":25738,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":49},227987,"yu-yuan-shi-chao-tu-yi-ming-227987","此作糅合山水、界画与风俗意趣。上部山峦以淡墨皴擦勾勒，烟岚氤氲间尽显雄浑苍莽，将北国山水的沉郁与朦胧空寂的意境相融。临水楼阁界画工致，飞檐层叠、台基规整，尽显苑囿的宏阔雅致，梁柱结构分毫毕现，见得精湛界画功力。\n\n下部闾巷屋舍错落排布，人物往来穿梭，市井烟火气扑面而来。整幅画作以全景构图，将林泉幽致、宫苑恢弘与市井鲜活交织，打破山水与界画的割裂，把清冷意境和暖融融的俗世情态相融，尽显兼容写实与写意的审美意趣。",[23,24,202,59,28,30,62,399,7,61,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7beaab8edbce5863fbd8ed6ded6b752f.jpg",[],{"id":25740,"slug":25741,"title":25742,"dynasty":18,"author":7149,"museum":459,"description":25743,"tags":25744,"thumbUrl":25745,"material":179,"size":179,"collection":179,"collections":25746,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},227979,"xing-lv-tu-ye-liang-kai-227979","行旅图页","此作取景极简，半边巨峰巍峨矗立，山石以斧劈皴利落勾勒棱线，淡墨晕染出积雪覆山的清寒意态。崖下枯木虬曲遒劲，枝桠交错间尽显冬日荒寒。山脚处旅人策蹇徐行，渺小身影衬得山岳愈发沉浑大气，留白铺就出辽远空寂的江天。\n整幅笔简意繁，以苍劲简逸的笔墨，将羁旅天涯的孤寂况味藏于尺幅之间，把冬日山行的荒寂清冷烘托尽致，意境幽远耐品，尽显水墨写意的精妙。",[23,24,25,152,30,385,118,117,994,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27fc4d514243e15127ce1f8cc64c78d1.jpg",[],{"id":25748,"slug":25749,"title":25750,"dynasty":18,"author":434,"museum":459,"description":25751,"tags":25752,"thumbUrl":25753,"material":179,"size":179,"collection":179,"collections":25754,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},227908,"kong-lin-zuo-gou-tu-yi-ming-227908","空林坐狗图","垂柳如烟垂覆林隅，细槎疏枝错落舒展，晕染出萧寂清旷的郊野秋意。劲瘦细犬静坐坡石之侧，颈间红绦轻垂，是古雅底色里一抹鲜亮暖意。它抬首侧目，似在谛听风穿叶隙、野雀轻啼，将空林的幽寂悄然打破，又融于这份静谧之中。\n\n此作晕染温润古雅，淡墨写尽林野荒疏意趣，工笔细绘灵犬神态，以尺幅团扇框住林下闲景，将雅致审美藏于野趣日常，幽韵自生，尽显小品画以小见大的精妙意境。",[23,5161,24,25,2895,29,28,1855,2058,7,289,4075],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d50f44903c7a03e510070aaade1260.jpg",[],{"id":25756,"slug":25757,"title":21728,"dynasty":18,"author":10765,"museum":459,"description":21729,"tags":25758,"thumbUrl":25759,"material":179,"size":179,"collection":179,"collections":25760,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},227756,"jiang-di-fang-mu-tu-yan-ci-ping-227756",[23,24,152,25,2895,28,30,91,7,19365,289,64,500,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e32dad27f36b039d1b36db0db02d9fd.jpg",[],{"id":25762,"slug":25763,"title":25764,"dynasty":18,"author":25765,"museum":459,"description":25766,"tags":25767,"thumbUrl":25768,"material":179,"size":179,"collection":179,"collections":25769,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},226560,"bian-qiao-hui-meng-tu-juan-chen-ji-zhi-226560","便桥会盟图卷","陈及之","《便桥会盟图》卷，元，陈及之作，纸本，白描，纵36厘米，横774厘米。\n该图旧作辽画，实误。款署“祜申仲春中浣富沙竹坡陳及之作”，据考，“祐申”为元代延祐庚申年的缩写。\n该卷画“便桥会盟”故事，全图共绘246人，180匹马和4头骆驼，堪称是元代绘人马最多、物景最宏大的历史画。全卷可分为三大部分，第一段，绘以党项人为主的各类马上运动和马戏表演，第二段，绘游牧之骑，以此过渡到第三段，绘便桥会盟故事，画突厥首领颉利在便桥桥头向秦王李世民求和的情景。\n全卷以白描线条绘成，得北宋李公麟遗韵。飞动自如的线条展现出人马极强的运动感，强劲之处，顿挫有力，洒脱之笔，圆转不滞。画中人马，虽盈寸方，但神情毕肖，尽见风采，细微之处，不失博大。\n清《石渠宝笈·初编》著录。",[23,152,24,26,437,29,63,61,90,30,7,243,32,14227,2918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb0ffce4747f42da84e0ed6e532f9db.jpg",[],{"id":25771,"slug":25772,"title":25773,"dynasty":990,"author":434,"museum":5990,"description":11274,"tags":25774,"thumbUrl":25775,"material":808,"size":809,"collection":179,"collections":25776,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":49},226440,"ku-zhu-shi-bei-bi-yi-ming-226440","窟主室北壁",[3402,923,28,61,62,30,11277,14585,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2501dd84d6637982669a227ee41d47cc.jpg",[],{"id":25778,"slug":25779,"title":25780,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":25781,"thumbUrl":25783,"material":808,"size":809,"collection":3244,"collections":25784,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":49},226062,"the-corner-of-the-garden-at-montgeron-1876-mo-nai-226062","The Corner of the Garden at Montgeron, 1876",[7526,3239,7419,9941,9940,8252,2335,7,32,411,8259,2725,1290,18917,2336,25782],"远处山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff78807d085e323ef89840ba9bf872ac0.jpg",[3244],{"id":25786,"slug":25787,"title":25788,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":25789,"thumbUrl":25791,"material":808,"size":809,"collection":3244,"collections":25792,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":49},225999,"poplars-on-the-banks-of-the-epte-1891-mo-nai-225999","Poplars on the Banks of the Epte, 1891",[7526,3239,14294,7419,7418,25790,7658,1446,5404,9952,1290,7,1191],"笔触松动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc6f6bbabba3488b693548ce77e07ec.jpg",[3244],{"id":25794,"slug":25795,"title":25796,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":25797,"thumbUrl":25802,"material":808,"size":809,"collection":3244,"collections":25803,"showCount":218,"zanCount":48,"manualWeight":48,"mainColor":128},225993,"orchard-in-bloom-1879-mo-nai-225993","Orchard in Bloom, 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顾先生的家属根据他的遗愿将此图捐赠故宫博物院。",[24,202,30,114,118,7,62,117,35,500,674,69,211,3755,10874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9de3f53df33e51fc5b44308bff63eca.jpg","纵116厘米，横62.5厘米",[],{"id":26443,"slug":26444,"title":20917,"dynasty":54,"author":4111,"museum":459,"description":26445,"tags":26446,"thumbUrl":26447,"material":808,"size":809,"collection":179,"collections":26448,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},234838,"shan-shui-shan-ye-guan-si-234838","关思，明朝，生卒年不详，字何思，号虚白（明画录谓字九思，后以字行，更字仲通）。乌程（今江浙吴兴）人。万历（一五七三至一六二○）间名重海内，与宋旭齐名。善画山水，骨法气韵入二李、三王之微，拟王蒙、倪瓒更妙。初年的山水构图繁密，蹊径水口，犹多重叠，至晚年山头石面，粗疏数笔，林树离披，略加墨叶，人物飘然，舟室古雅，令人阅之，眼界肃清。崇祯三年（一六三○）作月夜行旅图、溪山雨霁图。《图绘宝鉴续纂、画史会要、无声诗史、乌程志、明画录、广印人传补遗》",[2895,114,118,30,7,117,206,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5935312e3e86cc250a11c2fc9230fc18.jpg",[],{"id":26450,"slug":26451,"title":26452,"dynasty":54,"author":4131,"museum":20,"description":11458,"tags":26453,"thumbUrl":26454,"material":1218,"size":11461,"collection":179,"collections":26455,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},234812,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-xiu-zhu-wu-tu-ye-wen-jia-234812","吴门诸家寿袁方斋三绝册-文嘉修竹坞图页",[24,25,385,28,30,118,1067,117,7,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6272ba27d4700665a7cf4f2657f469af.jpg",[],{"id":26457,"slug":26458,"title":26459,"dynasty":223,"author":26460,"museum":20,"description":26461,"tags":26462,"thumbUrl":26463,"material":1218,"size":179,"collection":179,"collections":26464,"showCount":307,"zanCount":11,"manualWeight":48,"mainColor":128},234767,"huang-shan-tu-ce-jiang-zhu-234767","黄山图册","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,25,385,28,30,117,62,63,64,116,7,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c19b8f917096bf3b23a305e7fcab4ed.jpg",[],{"id":26466,"slug":26467,"title":26468,"dynasty":54,"author":8650,"museum":459,"description":25499,"tags":26469,"thumbUrl":26470,"material":179,"size":179,"collection":179,"collections":26471,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},234632,"fang-bei-yuan-shan-shui-shan-ye-lan-ying-234632","仿北苑山水扇页",[2895,114,118,30,62,7,115,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2468ed648fd299f606049d48ceee37.jpg",[],{"id":26473,"slug":26474,"title":3901,"dynasty":223,"author":1167,"museum":20,"description":26475,"tags":26476,"thumbUrl":26477,"material":1218,"size":179,"collection":179,"collections":26478,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},234292,"shan-shui-ce-jin-ting-biao-234292","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,28,114,118,2244,153,30,540,4567,117,64,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8386cfaad20e26fd82e317e8e3a5b140.jpg",[],{"id":26480,"slug":26481,"title":20942,"dynasty":223,"author":1310,"museum":20,"description":26482,"tags":26483,"thumbUrl":26484,"material":415,"size":7985,"collection":179,"collections":26485,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},234286,"tang-dai-xiao-yuan-xian-yong-tu-ce-tang-dai-234286","唐岱小园闲咏图册，绢本设色，25.7×33厘米，共十五开，绘宝亲王弘历《御制小园闲咏》十五首诗意，故宫博物院藏。\n唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。",[24,28,385,119,153,30,117,7,116,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49860ee591171309ea73ae89226743e.jpg",[],{"id":26487,"slug":26488,"title":26489,"dynasty":54,"author":26490,"museum":20,"description":26491,"tags":26492,"thumbUrl":26493,"material":40,"size":26494,"collection":179,"collections":26495,"showCount":307,"zanCount":928,"manualWeight":48,"mainColor":128},234251,"gui-fen-tu-deng-fu-234251","归汾图","邓韨","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[23,24,25,26,28,118,119,30,63,64,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f326f594cb4f73d23597696bfe00b.jpg","纵26.9厘米，横124厘米",[],{"id":26497,"slug":26498,"title":26499,"dynasty":223,"author":2792,"museum":20,"description":11887,"tags":26500,"thumbUrl":26501,"material":40,"size":26502,"collection":179,"collections":26503,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},234193,"bai-di-ye-yue-tu-juan-wang-hui-234193","白堤夜月图卷",[23,24,25,152,26,28,30,118,2316,63,64,726,7,62,116,540,528,35,3599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],{"id":26505,"slug":26506,"title":26507,"dynasty":223,"author":2792,"museum":20,"description":11887,"tags":26508,"thumbUrl":26509,"material":230,"size":26510,"collection":179,"collections":26511,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},234192,"han-jiang-xue-yi-tu-juan-wang-hui-234192","邗江雪意图卷",[23,24,26,114,29,30,818,32,66,7,69,156,63,2796,3148,3599,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纵39.3cm 横198.4cm",[],{"id":26513,"slug":26514,"title":26515,"dynasty":223,"author":26516,"museum":459,"description":26517,"tags":26518,"thumbUrl":26520,"material":1218,"size":179,"collection":179,"collections":26521,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},234184,"lin-yong-tu-xiang-di-er-juan-yin-zhen-234184","临雍图像第二卷","胤禛","清世宗爱新觉罗·胤禛（1678年12月13日 —1735年10月8日），清朝第五位君主（1722年—1735年在位），定都北京后第三位皇帝。年号雍正。康熙帝第四子，母为孝恭仁皇后（即德妃乌雅氏），生于北京紫禁城永和宫。\n康熙三十七年（1698年）封贝勒；康熙四十八年（1709年）胤禛被封为和硕雍亲王。在二废太子胤礽之后，胤禛积极经营争夺储位，康熙六十一年（1722年）十一月十三日，康熙帝在北郊畅春园病逝，他继承皇位，次年改年号雍正。雍正帝在位期做了一系列改革。为加强对西南少数民族的统治，实行改土归流。废除贱籍制度，实行摊丁入亩， [2] 减轻了无地、少地农民的经济负担，促进了人口增长。并且大力整顿财政，实行耗羡归公，建立养廉银制度，实行官绅一体当差一体纳粮。雍正元年（1723年）出兵青海，次年平定罗卜藏丹津叛乱。 [88-89] 在政治上，整顿吏治，创立密折制度监视臣民，设立军机处以专一事权。 [90] 而且改善秘密立储制度，使得皇位继承办法制度化，也在一定程度上避免康熙帝晚年诸皇子互相倾轧的局面。雍正帝在位期间，勤于政事，自诩“以勤先天下” 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厘米",[],{"id":26653,"slug":26654,"title":26655,"dynasty":3235,"author":434,"museum":459,"description":26656,"tags":26657,"thumbUrl":26660,"material":179,"size":179,"collection":179,"collections":26661,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},231697,"you-yuan-si-tiao-ping-yi-ming-231697","游园四条屏","此作以古松虬枝框景，留白衬出林下清寂悠远。仕女分作数组，情态各别：执伞侍者垂首侍立，闺中眷侣私语相和，携幼仕女缓行顾盼，执巾侍女恭谨相随。\n\n线条细劲秀逸，敷色淡雅明净，朱红白衫与黛色衣袂相映，晕染柔和自然，将仕女温婉丰腴的体态神韵尽显。整幅画作把游园的松弛闲静，融在松风云影之间，将贵族春日游园的悠然意趣铺陈开来，尽显古典仕女画的雅致情致。",[23,24,25,28,29,61,170,579,864,26658,26659,7],"游园场景","古典人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127e8cff6c8c717373302cc855931e79.jpg",[],{"id":26663,"slug":26664,"title":26665,"dynasty":54,"author":2636,"museum":459,"description":26666,"tags":26667,"thumbUrl":26668,"material":179,"size":179,"collection":179,"collections":26669,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},231565,"fei-quan-gu-shu-tu-wen-zheng-ming-231565","飞泉古树图","文征明（1470--1559），初名壁(或璧)，字徵明，一字征仲，号衡山。江苏长洲（苏州）人。明代中期著名的画家、书法家。他与沈周、唐寅、仇英并列，合称明四家(吴门四家或“吴门四杰”）。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”。书法上与祝允明、王宠并誉为“吴中三家”。晚年与老师沈周并驾齐驱，继沈周之后成为吴门派领袖。\n文征明的书画造诣极为全面，其诗、文、书、画无一不精，人称四绝全才。诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。\n文征明的绘画兼善山水、花鸟、人物，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。细笔山水画属本色画，具装饰性、抒情味、稚拙感的特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。\n文征明传世画作有《千岩竞秀》、《万壑争流》、《石湖草堂》、《石湖诗画》、《横塘诗意》、《虎丘图》、《天平纪游图》、《灵岩山图》、《洞庭西山图》、《拙政园图》等。",[23,24,25,30,28,118,3565,4629,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1449fe9e3fac0372a5e26f2d03ddcc88.jpg",[],{"id":26671,"slug":26672,"title":26673,"dynasty":223,"author":2792,"museum":423,"description":26674,"tags":26675,"thumbUrl":26676,"material":360,"size":26677,"collection":179,"collections":26678,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},231490,"mei-xi-gao-yin-tu-wang-hui-231490","梅溪高隐图","王翚(1632-1717)，字石谷、象文，号耕烟散人、乌目山人、剑门樵客、天放闲人、雪笠道人、海虞山樵，晚号清晖主人、清晖老人等，常熟(今江苏)人。\n他出身于世代文人家庭，据记载，他的祖上四代皆善画，且皆有名气。明代著名画家沈周，就曾称道过他的四世祖王伯臣的画。其祖父王载仕、伯父王豢鳌、父亲王云客均擅绘画，有秀雅之称。\n王石谷秉承家学，自幼酷嗜绘画，据说他在六、七岁时便能以芦荻画壁，入学私塾，喜弄纸笔，随意点染，有生动之意。同县的张珂，擅长山水，学黄公望一体，王石谷曾一度向他学画。\n青年时的王石谷就崭露头角，表现出非凡的艺术才能。正当他需要扩大眼界和名师指导时，正巧太仓大画家王鉴游览常熟虞山，一日见壁间悬挂一山水小幅，大为惊叹，一问方知是王石谷所画，即派人将他找来。\n王石谷久闻王鉴画名，便呈上画扇，请王鉴过目。王鉴见画艺精湛，遂与王石谷交谈，谈话中，尤觉这位年方二十的年轻人聪颖而富有才华，不禁赞扬道：你的才学，已可与古人相比。当即收为弟子，并携其返回太仓，亲自指授。王石谷画艺遂大进。\n后来王鉴欲离家远行，便把这位高足弟子引荐给王时敏。王时敏询其所学，惊异地说：“此烟客师也，乃师烟客耶。”也就是说，王石谷简直可以当我王时敏的老师了，怎么还作我王时敏的弟子呢！于是取家藏宋元名迹供王石谷学习，并带着他游览长江南北，观摹诸位藏家所珍藏的历代秘本名迹。\n王石谷潜神一志，细心揣摩，“尽得其法，仿临宋元人，无微不肖”。王时敏曾感慨地说：“气韵位置，何生动天然如古人竟乃尔耶！吾年垂暮，何幸得见石谷，又恨石谷不及为董宗伯(其昌)见也”。\n当时著名书画鉴赏家、王石谷的挚友周亮工在《读画录》中也盛赞云：“予所见摹古者，赵雪江(清画家赵澄)与石谷两人耳，雪江太拘绳墨，无自得之趣：石谷天资高，年力富，下笔便可与古人齐驱，百年以来，第一人也”。\n据说当时人以王石谷临仿古人之作，加以装裱，冒充古画，即便是精于鉴赏的行家，也很难看出是近人手笔。",[23,24,114,118,30,761,7,117,204,64,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8ce70988e77ff1074fb05c84cc2026.jpg","138x63",[],{"id":26680,"slug":26681,"title":26682,"dynasty":54,"author":23852,"museum":167,"description":26683,"tags":26684,"thumbUrl":26685,"material":360,"size":26686,"collection":124,"collections":26687,"showCount":307,"zanCount":928,"manualWeight":48,"mainColor":128},231414,"bai-yue-tu-leng-qian-231414","白岳图","此图近处是溪流、坡石、茅亭、古松；中间有丛树、竹林、板桥、人家；上部峰峦起伏，云霞映带。此图笔墨秀润，清丽萧疏，山石作披麻皴，皴擦并用，刚柔相济，不见奇峭之笔。画中景物的高低晕淡深浅，都很自然，树枝树叶，勾点结合，石上苔点恰到好处.\n此画可分为远景、中景、近景三段式。远景画面上层峦叠嶂，悬岩峭壁，古木衰草，幽深险绝；中景为崇山脚下，一片阔广平坦之地，左侧为林木丛生，密密麻麻的一片；右侧为翠竹林立，竹竿瘦劲挺拔，竹叶茂密，相互交错，互相映辉，在林木和翠竹荫下，坐落着几间屋宇茅舍，翠竹旁溪水潺潺流动，有一座高架的板桥接岸，近景为坡石堤岸，乱石横卧，山石奇特，山石间有几棵杂树，有的树干挺拔，有的盘根露土，有的枝干虬曲向左右弯斜。\n从此画题识看，该图是强余模写之作，作者对所熟悉的环境加以提炼、概括。 由自题可知，该图作元至正三年（1343年）。\n该图中，山头、山脊与怪石交织互抱，盘亘而上，变为一大平原，而从山腰到山顶，却有折搭、转换、穿插种种奇趣。凡此均非庸手所能。纯用于笔，浓墨淡墨兼施，轮廓与皴擦融为一体，尤其是善用空白，把山顶、山背、岩际、石尖，甚至山径，都表现出来。不加渲淡，不作苔点，更见笔墨凝重和骨力之美。在线条的组织与结构上，似乎十分紧密，然而石罅飞泉，山间停云，质实中还见虚灵。另一方面，作为全图的主峰却不嫌孤单，它的背后远岫罗列，它的腰际和云层里露出几个小山头，彼此之间如相揖让。这样的艺术想象、艺术构思与艺术手法，反映了大自然的节奏与生命，以及画家活泼泼的审美感情，而且和道家修养分不开。至于行笔坚硬朴实，则从传统中来。山石不以苔点修饰，乃唐人画法。明王铎题关仝《秋山晚翠》：“结撰深峭，骨苍力厚，婉转生发，又细又老，磅礴之气行于笔墨外，大家体度固如此。”冷谦此图庶几近之。而荆浩自许笔墨俱胜，米芾指出其山水特征在于“云中山顶，四面峻厚”，此图似乎兼而有之。",[24,25,202,114,30,118,117,7,63,64,69,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99888b1ef6398d1704122c6248807861.jpg","纵84.4厘米，横41.4厘米",[124],{"id":26689,"slug":26690,"title":26691,"dynasty":3235,"author":3239,"museum":459,"description":26692,"tags":26693,"thumbUrl":26696,"material":808,"size":809,"collection":179,"collections":26697,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},230598,"la-anunciaci-n-you-hua-230598","La-Anunciación","神性的光晕自左上角铺陈而下，鎏金天光里伸出神之手，一道光束破空穿透葱郁林野，将天国的启示引渡向尘世。\n\n林间草木丰茂，柑橘缀满枝头，棕榈舒展阔叶，细腻笔触晕开满溢生机。天使敛翼俯身，神态恭谨低垂，亚当夏娃居于画下，懵懂的神情里藏着未觉的命运波澜。\n\n柔和的色调消解了宗教叙事的厚重，金箔柔光与青翠绿意交融，将天启的肃穆融于伊甸的宁谧静雅，把神圣瞬间定格在静谧林间，静穆中暗涌着命运流转的张力。",[3239,28,923,61,23866,156,7,2725,5062,69,26694,26695,6117],"柱子","光线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b9e6f3b8816a416fecae111668883b.jpg",[],{"id":26699,"slug":26700,"title":26701,"dynasty":3235,"author":434,"museum":459,"description":26702,"tags":26703,"thumbUrl":26710,"material":808,"size":809,"collection":179,"collections":26711,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":985},230512,"fu-nie-pan-tu-yi-ming-230512","佛涅槃图","整体色调沉穆古旧，晕染出哀戚而庄严的氛围。释迦牟尼右胁安卧，面容恬然平和，尽显圆寂时的超脱自在。环绕的诸天眷属与弟子，或垂首哀哭，或肃穆伫立，悲恸之态与佛陀的安然形成强烈对冲。朦胧错落的林间花枝，将尘世悲绪融于苍茫禅意。岁月斑驳侵蚀了画面，却未掩去画师的精妙笔力，把涅槃之际的神圣氛围与众生哀恸交织一处，观者仿佛踏入这场肃穆法会，在静谧与悲怆的碰撞之间，体悟寂灭背后的永恒禅机。",[24,923,28,61,7,156,29,6180,4310,26704,26705,26706,26707,26708,26709],"宗教题材","设色人物","树木景观","飞鸟元素","工笔技法","传统国画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8172060eb990fda95c7360f8fb135bca.jpg",[],{"id":26713,"slug":26714,"title":26715,"dynasty":223,"author":26716,"museum":459,"description":26717,"tags":26718,"thumbUrl":26719,"material":179,"size":179,"collection":179,"collections":26720,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},228935,"mo-gu-shan-shui-ce-lu-yuan-228935","摹古山水册","陆远","此作用淡墨干笔写就水岸幽居之景，近岸古木虬曲垂丝，与旁侧细竹相映，茅舍临水孑立，透着世外幽居的闲静。水面留白铺展出空阔淡远之意，远山以枯笔皴擦勾勒石体质感，苍朴的山石晕染出烟水朦胧之态。\n\n整体画风简淡萧疏，将水岸清旷冷逸之境藏于尺幅间，笔意简净却意蕴悠长，把林泉幽隐之思融在每一处点染之中，观之便如踏入无人烟水，浸享静穆淡远的文人雅趣。",[24,114,60,118,385,30,117,7,358,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ecd5879745033f91d86956e7bd1aae2.jpg",[],{"id":26722,"slug":26723,"title":26724,"dynasty":54,"author":434,"museum":459,"description":26725,"tags":26726,"thumbUrl":26727,"material":179,"size":179,"collection":179,"collections":26728,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},228780,"fang-li-tang-bai-niu-tu-yi-ming-228780","仿李唐百牛图","此作以长卷铺展郊野牧歌，百头水牛形神各异，或缓步山径、或卧息林麓、或就水嬉游，尽显野性生机。村童三两，或骑牛徐行、或滩间闲坐，稚态可掬。平远山水间，枯木疏林、浅坡村居晕染出淡远乡野意趣。笔墨朴雅清润，勾勒皴擦简淡灵秀，于苍旧绢色里晕开田园闲逸，将牧放日常的悠然意致尽数铺陈，写生状物精妙，尽显古雅的山野生机之美。",[23,24,25,26,28,60,91,30,7,61,63,64,289,118,1855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84587f45aecfd3e120826fe52fe1e9fc.jpg",[],{"id":26730,"slug":26731,"title":3272,"dynasty":54,"author":10774,"museum":459,"description":26732,"tags":26733,"thumbUrl":26734,"material":179,"size":179,"collection":179,"collections":26735,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},228461,"fang-huang-zi-jiu-shan-shui-tu-sheng-mao-ye-228461","此作用笔追摹黄公望苍厚朴茂的披麻皴，山峦层叠盘桓，以高远之势铺陈丘壑，兼具深远之致。林麓间山居屋舍错落，溪泉萦回，苍松挺立点缀幽壑，暗含元人山水萧散淡远的意趣。\n\n画家师法前贤却不囿于摹写，以温润秀雅的笔调，将富春山居的平淡天真复刻传神，把晚明文人寄情林泉的雅趣融在笔墨间，既恪守元画的空灵气韵，又自含清隽的个人意韵，尽显林泉高致的悠远意境。",[23,24,25,202,30,114,118,117,7,206,35,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6db1427bc5215e0f3e4bb071162d0a8.jpg",[],{"id":26737,"slug":26738,"title":26739,"dynasty":54,"author":24574,"museum":459,"description":26740,"tags":26741,"thumbUrl":26742,"material":179,"size":179,"collection":179,"collections":26743,"showCount":307,"zanCount":928,"manualWeight":48,"mainColor":985},228436,"chun-shan-ben-quan-tu-wei-zhi-huang-228436","春山奔泉图","此作以高远取景，主峰奇崛通透，洞天别具一格。山石勾勒皴擦，尽显雄浑苍厚质感，奔泉辗转穿流于丘壑之间，暗涌的水势让纸面生机暗藏。\n\n松翠掩映间楼阁隐现，晕染出林泉幽居的雅意。左下角临流高士凭栏观涛，以人衬景，将山林隐逸之趣铺展开来。笔墨苍润朴拙，淡墨晕染出春日山岚的氤氲氛围，把自然丘壑的野趣与文人寄情山水的襟怀相融，尽显雅致沉静的山水意境。",[23,24,25,202,114,30,118,117,7,64,676,61,540,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c21c776318bf0149469bc3d6a7a4db2.jpg",[],{"id":26745,"slug":26746,"title":26747,"dynasty":54,"author":3786,"museum":459,"description":20918,"tags":26748,"thumbUrl":26749,"material":808,"size":809,"collection":179,"collections":26750,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},228311,"tian-chi-wan-tiao-tu-lu-zhi-228311","天池晚眺图",[23,24,25,26,30,28,118,243,7,69,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed16a02709d4880a243cf9b576eb41.jpg",[],{"id":26752,"slug":26753,"title":267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Boat on the Small Branch of the Seine at Argenteuil, 1872",[7526,3239,14294,10664,9938,34,1288,32,1290,9085,7,3987,411,5404,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed19734cf7c3fb1f269ec7e8c284ca0e.jpg",[3244],{"id":26783,"slug":26784,"title":26785,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":26786,"thumbUrl":26789,"material":808,"size":809,"collection":3244,"collections":26790,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},225998,"poplars-at-giverny-sunrise-1888-mo-nai-225998","Poplars at Giverny, Sunrise, 1888",[7526,3239,10664,26787,9083,14294,7658,7,411,5404,11517,26788,1191],"色彩交融","日出","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6438f3b3207d1da320ffd60762dbe5a4.jpg",[3244],{"id":26792,"slug":26793,"title":26794,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":26795,"thumbUrl":26798,"material":808,"size":809,"collection":3244,"collections":26799,"showCount":307,"zanCount":928,"manualWeight":48,"mainColor":128},225878,"wheatfield-with-a-reaper-september-fan-gao-225878","Wheatfield with a reaper (September - )",[152,3239,3240,6957,9096,26796,10852,26797,1622,2795,5404,7,3148],"色彩饱和","收割者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb009d44d7b3f205302c1e28ebf1979.jpg",[3244],{"id":26801,"slug":26802,"title":26803,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":26804,"thumbUrl":26805,"material":808,"size":809,"collection":3244,"collections":26806,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},225831,"the-langlois-bridge-march-fan-gao-225831","The Langlois bridge (March - )",[152,3239,28,63,64,115,74,411,61,35,7,9096,3240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd318fc35b367994358e3cf58d7e0426.jpg",[3244],{"id":26808,"slug":26809,"title":26810,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":26811,"thumbUrl":26817,"material":808,"size":809,"collection":3244,"collections":26818,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},225752,"gartenlokal-la-guinguette-auf-dem-montmartre-fan-gao-225752","Gartenlokal 'La Guinguette' auf dem Montmartre",[3239,3240,26812,26813,61,7,69,26814,26815,26816],"木桌","长凳","街灯","露天茶座","塔楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29eab7ce618b242b7fdf1d3035f5b5b2.jpg",[3244],{"id":26820,"slug":26821,"title":26822,"dynasty":3235,"author":434,"museum":459,"description":26823,"tags":26824,"thumbUrl":26826,"material":179,"size":179,"collection":179,"collections":26827,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},225383,"fu-shi-hui-140-yi-ming-225383","浮世绘140","这幅作品定格了春日亭台宴游的闲雅片刻，亭台木构拉展出通透纵深感，前景盛放的白花衬起融融春意，远景溪岸蜿蜒、山樱初绽晕染出淡远的春日山水底色。\n\n四位仕女情态各有韵致，接引的侍女温婉颔首，登阶的佳人柔躯微倾，带着初见春景的娇怯，凭栏远眺的少女托腮出神，抱琴静坐的仕女娴静悠然。和服纹样繁丽精巧，格纹、云纹与繁花纹样交织，将江户女性的柔美雅致尽数铺展。笔触舒展秀雅，设色调和清丽，把和风春日里的慵懒闲情晕染开来，尽显描摹世俗风物的诗意美感。",[15217,11574,28,61,170,806,64,7,69,173,592,26825],"和服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f420ee1cf6a3866d8c47396fe8bfea.jpg",[],{"id":26829,"slug":26830,"title":26831,"dynasty":223,"author":3775,"museum":459,"description":26832,"tags":26833,"thumbUrl":26834,"material":179,"size":179,"collection":179,"collections":26835,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},224490,"xing-fu-an-gan-jiu-tu-juan-wu-li-224490","兴福庵感旧图卷","《吴历兴福庵感旧图卷》是清代吴历创作的一幅画。\n本幅自题：“吾友笔墨中，惟默公交最深。\n予常作客，不为话别，恐伤折柳。\n庚戌清和，游于燕蓟，往往南传方外书信，意甚殷殷。\n辛亥秋冬，将欲赋归，意谓同此岁寒冰雪，而未及渡淮，闻默公已挂履峰头，痛可言哉。\n自惭浪迹，有负同心，招魂作诔，未足抒写生平，形于绢素，訾笔陨涕而已。\n却到昙摩地，泪盈难解空。\n雪庭松影在，草诏墨痕融。\n几树春残碧，一灯门掩红。\n平生诗画癖，多被误吟风。\n鱼雁几曾隔，赋归迟悔深。\n自怜南北客，未尽死生心。\n痴蝶还疑梦，饥鸟独守林。\n云看无限意，何事即浮沉。\n甲寅年登高前二日雨霁并书。\n桃溪居士吴子历。\n”钤“吴历”印一方。\n卷尾有许之渐、纪萌、张景蔚三家题记。\n甲寅为清康熙十三年（1674年），吴历时年4岁。\n此图是作者为怀念故友默容而作，一段长题简述了二人的交往，情深意切。\n画中描绘兴福庵的景物，寺外杂树丛竹，墙内孤松白鹤，本是一处清幽之所，然人去室空，满目凄清，透露出作者以笔墨寄托哀思的心境。\n树木勾点结合，层次分明，穿插自然，蜿蜒曲折的围墙加强了画面的纵深感，山石有皴有染，大面积的青绿敷色表现了真实自然的景致，是画家兼取宋、元画法而别具一格的代表作。",[23,24,25,26,28,30,120,153,7,35,64,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f571ff10a4082ce3d8b946f44feff0.jpg",[],{"id":26837,"slug":26838,"title":26839,"dynasty":223,"author":647,"museum":459,"description":26840,"tags":26841,"thumbUrl":26842,"material":179,"size":179,"collection":179,"collections":26843,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},224392,"tao-yuan-chun-zhou-tu-wang-yuan-qi-224392","桃源春昼图","此作用元人笔法绘就世外幽境，干笔积墨皴擦山峦，层层叠叠尽显苍浑厚重。近岸林木疏朗，粉桃绽枝，村居隐于水畔林间，溪桥连通幽处，晕染出春日清和柔缓的氛围。\n\n诗画相映，鉴藏朱印错落点缀，将武陵桃源的隐逸意趣融于尺幅之中。整体章法疏密有致，笔意内敛沉静，以苍润笔墨铺展出出世忘尘的澹然意境，尽显文人山水的清雅格调，藏着山居春日的闲逸悠然。",[23,24,25,30,28,118,154,341,342,7,358,63,64,153,120,202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4861bc4696e9917281ec8d93b88f9dcf.jpg",[],{"id":26845,"slug":26846,"title":30,"dynasty":223,"author":26847,"museum":459,"description":26848,"tags":26849,"thumbUrl":26850,"material":179,"size":179,"collection":179,"collections":26851,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},224290,"shan-shui-fan-song-224290","范松","此作以全景铺展丘壑，层峦叠嶂间烟岚轻笼，将高远、平远之景相融。崖岫间红墙古寺半隐，晕染出点睛亮色，打破黛山翠林的沉静。\n\n林麓间村居错落，板桥跨溪通幽，浅滩漱石、流泉回环，把山居烟火与林泉野趣织为一体。笔墨苍秀老辣，以短皴写山石嶙峋肌理，林木枝桠攒簇尽显苍劲葱茏，淡赭轻敷衬出秋意清寂，整体气息静穆澹远，将文人心中栖隐林泉的意趣藏入层叠丘壑之中，观之如身临幽寂山境，揽尽林泉雅致。",[23,24,28,118,202,30,63,64,116,7,117,62,35,502,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393c5de365c8e65858e3c9cf20b1c1d5.jpg",[],{"id":26853,"slug":26854,"title":26855,"dynasty":18,"author":434,"museum":20,"description":26856,"tags":26857,"thumbUrl":26859,"material":140,"size":26860,"collection":179,"collections":26861,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},223564,"xi-shan-chun-xiao-tu-dai-wei-ba-yi-ming-223564","溪山春晓图（带尾跋）","全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄“的美学追求",[23,152,24,25,26,114,28,30,118,29,120,16356,3586,119,153,26858,64,7,676,63,156,289],"溪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67182705fdd916fd2124e4fc25062135.jpg","24.5x185.5",[],{"id":26863,"slug":26864,"title":6176,"dynasty":223,"author":3733,"museum":20,"description":26865,"tags":26866,"thumbUrl":26869,"material":179,"size":6182,"collection":179,"collections":26870,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},223221,"geng-zhi-tu-ce-jiao-bing-zhen-223221","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,25,29,28,61,91,26867,26868,7,35,13763,119],"耕地","水田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b54d2943eeabde80bb1bd85f146d6f1.jpg",[],{"id":26872,"slug":26873,"title":26874,"dynasty":223,"author":4356,"museum":20,"description":9518,"tags":26875,"thumbUrl":26876,"material":9521,"size":9522,"collection":179,"collections":26877,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},223145,"shi-wan-tu-ce-9-ren-xiong-223145","十万图册9",[23,24,28,27,29,118,385,30,117,7,204,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d728f0cbb935384c6ccb8053cd6f93.jpg",[],{"id":26879,"slug":26880,"title":26881,"dynasty":223,"author":4356,"museum":459,"description":26882,"tags":26883,"thumbUrl":26884,"material":360,"size":179,"collection":179,"collections":26885,"showCount":307,"zanCount":928,"manualWeight":48,"mainColor":128},223135,"shi-wan-tu-ce-shan-mian-2-ren-xiong-223135","十万图册-扇面2","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。\n任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，堪与陈洪绶并驾。人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。曾有《于越先贤传》、《剑侠传》、《列仙酒牌》等画曾刻印行世，\n传世作品有《十万图册》十页、《姚燮诗意图册》《自画像》轴等，现藏故宫博物院；咸丰五年（1855）作《四梅图》轴藏中国美术馆；《为姚梅伯作人物册》二十页、《洛神图》轴、《范湖草堂图》卷藏上海博物馆；《丁文蔚像》轴藏浙江省博物馆；《少康像》册页藏南京市博物馆；《瑶宫秋扇图》轴藏南京博物院；《四季花卉图》卷藏辽宁省博物馆；《人物图册》藏广州美术馆。",[23,24,2895,114,118,30,341,1473,1067,63,69,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff813e453a30df81524c4b73358b23be.jpg",[],{"id":26887,"slug":26888,"title":26889,"dynasty":223,"author":858,"museum":514,"description":859,"tags":26890,"thumbUrl":26891,"material":140,"size":869,"collection":179,"collections":26892,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},222977,"hong-lou-meng-102-sun-wen-222977","红楼梦102",[23,29,28,59,61,62,70,269,1665,7,170,862,273,11308,69,8253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f29d4f96bae2ac203a1e271aaabb89e.jpg",[],{"id":26894,"slug":26895,"title":26896,"dynasty":223,"author":858,"museum":514,"description":859,"tags":26897,"thumbUrl":26899,"material":140,"size":869,"collection":179,"collections":26900,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},222973,"hong-lou-meng-98-sun-wen-222973","红楼梦98",[23,29,28,59,61,62,70,6763,7,26898,2856,1344,175,11308,19477],"太湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ea2eba1280154b2baab54fd4a20ff7.jpg",[],{"id":26902,"slug":26903,"title":17361,"dynasty":223,"author":858,"museum":514,"description":859,"tags":26904,"thumbUrl":26905,"material":140,"size":869,"collection":179,"collections":26906,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},222931,"hong-lou-meng-56-sun-wen-222931",[23,24,29,28,26,4310,7050,70,62,170,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f55da093f54203f7d792795bc674235.jpg",[],{"id":26908,"slug":26909,"title":26910,"dynasty":223,"author":858,"museum":514,"description":859,"tags":26911,"thumbUrl":26914,"material":140,"size":869,"collection":179,"collections":26915,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},222908,"hong-lou-meng-33-sun-wen-222908","红楼梦33",[23,29,28,59,61,62,70,7,117,173,26912,22496,26913,2450,1044,8253,69,1344],"匾额","公子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0de6690162cf3adb8de884b97b8e03.jpg",[],{"id":26917,"slug":26918,"title":26919,"dynasty":223,"author":858,"museum":514,"description":859,"tags":26920,"thumbUrl":26921,"material":140,"size":869,"collection":179,"collections":26922,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},222899,"hong-lou-meng-24-sun-wen-222899","红楼梦24",[23,24,28,29,25,61,30,63,64,7,154,69,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26aecca502b1ecebd2dad0237257b786.jpg",[],{"id":26924,"slug":26925,"title":26926,"dynasty":54,"author":7795,"museum":8864,"description":20593,"tags":26927,"thumbUrl":26928,"material":2012,"size":20596,"collection":179,"collections":26929,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},222224,"si-wan-shan-shui-tu-wan-qing-qing-bo-wen-bo-ren-222224","四万山水图-万顷晴波",[23,24,25,202,114,118,30,115,156,7,244,11755,1376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4c610a6dfca13ab7aee91938ded7bf.jpg",[],{"id":26931,"slug":26932,"title":26933,"dynasty":133,"author":26934,"museum":658,"description":26935,"tags":26936,"thumbUrl":26937,"material":26938,"size":26939,"collection":179,"collections":26940,"showCount":307,"zanCount":928,"manualWeight":48,"mainColor":128},221828,"zhu-lin-da-shi-chu-shan-tu-chen-jian-ru-221828","竹林大士出山图","陈鉴如","陈鉴如，元代画家，擅写照，被誉为肖像画第一家。据《安国志略》载,元代安南国王陈昑40岁时悟佛,舍位出家,入武林洞修行,号竹林大士。该图描绘的是竹林大士修成后,从武林洞出游邻国占城,国王得知后出来迎接的情景。",[23,152,24,25,26,923,437,61,504,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3f2a27be135dae27a59546b267a193.jpg","纸本长卷","28x954.5厘米",[],{"id":26942,"slug":26943,"title":26944,"dynasty":1743,"author":17755,"museum":26945,"description":26946,"tags":26947,"thumbUrl":26948,"material":5119,"size":179,"collection":179,"collections":26949,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},220512,"jing-guan-pu-xin-she-220512","景观","The Baltimore Museum of Art","这幅山水以高远之法布景，峭拔崖壁斜出画面，留白铺就空濛意境。淡青绿轻染山石，细笔皴擦出嶙峋肌理，兼以枯笔点苔，苍润兼具。坡岸虬松古木，枝桠舒展，细笔写叶，尽显葱茏生机，林下藏幽壑，隐见深林意趣。\n题诗与画境呼应，将空山泉响的松风禅意融于笔墨间。以书入画，笔致隽秀萧散，淡墨轻岚里铺陈出林泉高致的隐逸心境，简淡中见苍厚，清和中藏浑朴，尽显传统文人山水的文心雅韵，将中式山水的静穆诗意藏于尺素之间。",[23,24,25,202,114,28,118,30,244,7,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a35de63ffa4fc6160756dba5a74e6.jpg",[],{"id":26951,"slug":26952,"title":26953,"dynasty":54,"author":26954,"museum":4132,"description":26955,"tags":26956,"thumbUrl":26957,"material":303,"size":26958,"collection":124,"collections":26959,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":128},219937,"xia-shan-qing-liu-tu-gao-yan-219937","夏山清流图","高俨","高俨（1616年-1687年），清代画家，字望公，广东新会人，博学多艺，工诗书画，被称为三绝，有名于岭南。 与当时岭南文坛画苑的陈子壮、王邦畿、陈恭尹、张穆等交朋友。明朝亡，不愿“ 颜事贼”，是一个具有民族气节的文人。",[152,24,25,202,114,30,204,64,7,994,116,61,117,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc764d0b30f2bda069eac4e527320714b.jpg","175x38",[124],{"id":26961,"slug":26962,"title":26963,"dynasty":18,"author":8009,"museum":167,"description":26964,"tags":26965,"thumbUrl":26967,"material":1842,"size":26968,"collection":179,"collections":26969,"showCount":307,"zanCount":48,"manualWeight":48,"mainColor":49},219487,"san-yuan-de-lu-tu-yi-yuan-ji-219487","三猿得鹭图","画在深山悬崖上的一棵老桂花树上，黑、灰、白三只猿正在捉小白鹭。 “三元”是指科举三元，即乡试、会试、殿试第一名。 得到与鹭合和的“禄”，意味着三元之路一帆风顺。 其中，桂花树还摘得桂冠。 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工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[24,25,385,114,120,118,30,117,7,500,1474,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05b75d5f6faa72eac52e45f77c8da0a.jpg",[124],{"id":27319,"slug":27320,"title":3901,"dynasty":223,"author":9866,"museum":459,"description":27321,"tags":27322,"thumbUrl":27323,"material":179,"size":179,"collection":179,"collections":27324,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},235167,"shan-shui-ce-zhu-da-235167","这幅画以大片留白铺就江天寥廓，将寒烟秋水的空茫意蕴藏于素纸之上。右侧淡墨勾勒丘坡枯木，笔意清瘦简逸，虬曲枯枝孤傲孑立，枯笔皴擦山石，不着浓墨晕染，尽显萧疏冷寂。\n\n空荡纸面恰如无人的寒江荒野，把天地荒寒的澹远之境铺陈开来。朱红钤印错落点缀，冷素笔墨与古雅印色相映，为清寂画面添了沉静厚重的余味。\n\n寥寥数笔便将幽独襟怀融于山水之间，极简意象里藏着沉郁孤高的心境，于空寂之中见深远意趣，淡远里尽显清冷孤绝的品格。",[24,114,385,30,7,35,117,289,118,21480,14666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c165116dd7770d6cc8dde0fdfaf4df9.jpg",[],{"id":27326,"slug":27327,"title":8890,"dynasty":223,"author":3550,"museum":20,"description":24567,"tags":27328,"thumbUrl":27329,"material":8893,"size":8894,"collection":179,"collections":27330,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},234965,"wu-wai-tian-yuan-tu-ce-kun-can-234965",[24,25,152,385,114,118,119,153,30,289,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab7e989e6b953554dabccfa86cb3c35.jpg",[],{"id":27332,"slug":27333,"title":25475,"dynasty":54,"author":8650,"museum":459,"description":23765,"tags":27334,"thumbUrl":27335,"material":808,"size":809,"collection":179,"collections":27336,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},234831,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234831",[24,25,2895,30,60,118,114,117,7,35,63,1044,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a581639319e81fff2d3745b315c142.jpg",[],{"id":27338,"slug":27339,"title":27340,"dynasty":54,"author":20212,"museum":459,"description":27341,"tags":27342,"thumbUrl":27343,"material":179,"size":179,"collection":179,"collections":27344,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},234804,"qian-gu-shan-shui-dan-ye-qian-gu-234804","钱穀山水单页","钱穀（1508—1578），字叔宝，号罄室、句吴逸民，自号罄室子，长洲（今江苏苏州）人，吴越国王族钱氏的后人。少孤贫，迨壮始知读书，游文太史徵明门下，研习画法。画名甚著，且书、诗、文俱精妙。\n现藏于苏州博物馆的钱穀《摹吴镇、倪云林山水》卷为纸本水墨，纵31.5厘米、横148.5厘米，题款“钱穀”，钤“叔宝”白文方印。此作为我们观察、研究钱穀的仿古绘画面貌提供了资料。\n钱穀所处时代的吴中，形成了一个以文徵明为核心的精英文化圈。而成为文徵明的弟子，即意味着他进入了这个核心圈，共享圈内的资源。与诸多文徵明的弟子一样，他长期为老师代笔。这表明，钱穀的画风在很长时间内与文徵明的画风相当接近。除了替师捉刀之外，他也十分注重自己的个人创作。清代徐沁在《明画录》中评价钱穀“作山水不名其师学，而自腾踔于梅花、一峰、石田间，爽朗可爱”。从中可以看出，钱穀已意识到创作不应拘泥于文氏风格。他后期的绘画转师沈周及“元四家”，即是一种应变的策略。《摹吴镇、倪云林山水》卷便是他求变的产物。\n摹写前人的作品，注重从前人的画法中吸取营养，是画家自我提升的一个重要法门。吴门绘画特别推崇元人的笔墨。因此，钱穀追摹吴镇、倪瓒作品的举动也是不难理解的事情。在吴中的文化圈中，“元四家”的作品备受青睐、流传颇多，钱穀想要观赏这些作品自然也不是难事。因此在临仿元人绘画时，可供他选择的画作应是比较丰富的。在《摹吴镇、倪云林山水》卷中，他采用的并不是常见的不与原作相似、带有强烈个人印记的“神会”模仿，而是较为忠实地学习元代画家的风格特征，隐去了自己的笔法痕迹。不过，他的摹写并不是对某一画作的如实临摹，而是将不同画作的绘画元素转摹组合到同一个画面之中。",[24,25,114,118,385,30,116,7,117,35,206,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8fd14004e15d9a8836dc084f6eacaa.jpg",[],{"id":27346,"slug":27347,"title":27348,"dynasty":54,"author":8650,"museum":459,"description":25499,"tags":27349,"thumbUrl":27350,"material":179,"size":179,"collection":179,"collections":27351,"showCount":545,"zanCount":928,"manualWeight":48,"mainColor":128},234634,"fang-zhao-song-xue-shan-shui-shan-ye-lan-ying-234634","仿赵松雪山水扇页",[24,2895,28,30,115,540,117,7,61,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39567596c4b94d544a1394f90e146675.jpg",[],{"id":27353,"slug":27354,"title":26303,"dynasty":54,"author":24574,"museum":459,"description":27355,"tags":27356,"thumbUrl":27357,"material":179,"size":179,"collection":179,"collections":27358,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},234486,"shan-shui-shan-wei-zhi-huang-234486","魏之璜（1568～1647），明代画家。字叔考，上元（今南京）人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风格。亦擅花卉及佛像。",[2895,24,25,114,28,118,30,7,117,62,35,502,413,244,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689fbbc66d94f153ceabb94254d50706.jpg",[],{"id":27360,"slug":27361,"title":13771,"dynasty":223,"author":27362,"museum":459,"description":27363,"tags":27364,"thumbUrl":27365,"material":1218,"size":179,"collection":179,"collections":27366,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},234256,"shan-shui-juan-li-shao-ji-234256","李绍箕","李绍箕（1550～1631后）明代画家、诗人。字懋承。华亭（今上海松江）人。其祖父李日章，官按察副使。绍箕少承家学，长于诗文，以太学生官南京鸿胪寺序班，后官江西都昌主簿。擅画山水，师岳父顾正谊，能师承其画风，并因任职南昌，多涉历山川胜景，画艺益进，晚年运笔苍劲，年八十有余尚挥洒不倦。",[23,24,25,26,114,118,119,120,30,243,7,540,35,386,32,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1d2d7087f5607236ef25610e823c52.jpg",[],{"id":27368,"slug":27369,"title":13771,"dynasty":54,"author":27370,"museum":459,"description":27371,"tags":27372,"thumbUrl":27375,"material":1218,"size":179,"collection":179,"collections":27376,"showCount":545,"zanCount":928,"manualWeight":48,"mainColor":128},234183,"shan-shui-juan-chen-lian-234183","陈廉","陈廉（？－？），字威如，直隶大名府元城县人，民籍，明朝政治人物\n顺天府乡试第八十二名，万历十一年（1583年）癸未科会试第二百八名，登二甲第四十四名进士\n曾祖陈绶，曾任知府；祖父陈鸿雷，曾任镇抚；父陈秉忠，曾任王府审理正。母刘氏",[23,24,25,26,114,30,118,341,342,7,37,31,244,386,211,206,11825,502,413,38,27373,4810,994,27374,138,676],"层峦叠嶂","平畴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a358cb8317b17bc86b3b68fad90017.jpg",[],{"id":27378,"slug":27379,"title":27380,"dynasty":54,"author":434,"museum":20,"description":27381,"tags":27382,"thumbUrl":27383,"material":1218,"size":179,"collection":179,"collections":27384,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},234148,"qian-gu-xiao-yao-you-tu-juan-yi-ming-234148","钱榖逍遥游图卷","钱榖（1508—1579）字叔宝，自号罄室，吴县（今江苏苏州）人，明代画家。\n少孤贫，失学，迨壮始知读书。家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便觉心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔于艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物院藏有万历六年（一五七八）客金陵王氏修竹馆作兰竹卷，时年七十一。",[23,24,25,26,114,30,61,120,16356,119,153,7,64,115,116,156,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599973daa6e861823a66c4c21576ad86.jpg",[],{"id":27386,"slug":27387,"title":27388,"dynasty":18,"author":434,"museum":20,"description":27389,"tags":27390,"thumbUrl":27391,"material":140,"size":27392,"collection":179,"collections":27393,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},234027,"qiu-ting-xi-ying-tu-ye-yi-ming-234027","秋庭戏婴图页","此轴画风活泼清丽，表现庭院中，两孩在湖石花丛下嬉戏，用笔极为细致，精到而刚劲。设色艳丽，与画面气氛浑然一体，信息传达恰到好处。画的左上方有几行题跋，但非原画所有，旧传此画是汉臣之作，但仅就画面来说，其布局匀称得体，用笔熟练老到，确为功力颇深之人的作品。特别是两孩瞳如点漆，炯炯有神，堪称“点睛”妙笔。\n苏汉臣还擅画货郎担和婴儿嬉戏之景，情态生动，能成功地表现出儿童的形象及其游戏时天真活泼的情趣，且笔法简洁劲利，色彩明丽典雅。宋人画儿童题材，起于宋初。以儿童生活为题材的画家有刘宗道、杜孩儿等，但他们都极少有流传下来的作品。这幅苏汉臣的《秋庭戏婴图》就是此类作品的代表。\n赏析：《秋庭戏婴图》无款印，描绘的是两个儿童在花下嬉戏的情景。左上方有清高宗手书的七言绝句一首：“庭院秋声落枣红，拾来旋转戏儿童；丹青讵止传神诩，寓意原存相让风。”在庭院静谧、幽美的一角，满脸稚气的姐弟二人正围着小圆凳，聚精会神地玩推枣磨的游戏。头顶一绺黑发的男童全神贯注，沉浸其中，动作笨拙却逗人喜爱。旁边头梳发卷的姐姐，正用手指轻轻指点，张口露齿，仿佛欲叮嘱些什么。不远处的圆凳上、草地上，还散置着转盘、小佛塔、铙钹等精致的玩具。与姐弟玩兴正浓的推枣游戏对比，更能突显出孩童们喜新厌旧的天性，揭示出孩子们稚气未脱、天真烂漫的童心世界。\n背景部分，笋状的太湖石高高耸立，造型坚实挺拔，周围则簇拥着盛开的芙蓉花与雏菊，这样的布局，不仅冲淡了湖石的阳刚之气，也充分点出秋天的节令。画中姐弟俩所玩的枣子是中国北方的作物，在当时的江南并不生产。加上全画的描写，极端细腻、写实，符合北宋末期的宫廷院画特质。而且，徽宗素来喜欢搜集太湖石，所以即使此图无款印，也能据此推测出此画应该是北宋徽宗宣和画院时期的作品。图中两个儿童只占画面左下角的一小块位置，作为背景点缀的花石却很高大，成为全图最为醒目的标志。\n花石的高大反衬出了儿童的幼小，而四周丢弃的玩具则显示出儿童的天真本性。这种突出的对比在这幅画中到处可见。作者运用线条的功力深厚，使线条富于轻重、长短、转折、顿挫的变化。弟弟的上衣，运用了硬而碎的线条，表现出了布料的质感；姐姐的纱裙，行笔流畅圆润，虽用重色，却给人以薄到透明的感觉，使纱衣有了流动感。画湖石皴染结合，石质显得坚厚湿润而有立体感。花卉皆勾勒精劲，设色艳丽，展示了作者在这方面的高深造诣。仔细观察画中人物的发式、衣着，都是锦装玉琢，一看即知是官宦人家的子弟。\n顾炳在《历代名公画谱》中曾说：“汉臣制作极工，其写婴儿，着色鲜润，体度如生，熟玩之不啻相与言笑者，可谓神矣。”由此可见，苏汉臣的绘画具有造型精准、典雅妍丽的宫廷绘画本质。",[152,24,25,2244,2895,29,28,61,1170,7,328,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d40fc2e963083256e5593789d80158d.jpg","47x86cm",[],{"id":27395,"slug":27396,"title":26560,"dynasty":223,"author":4335,"museum":20,"description":26561,"tags":27397,"thumbUrl":27400,"material":936,"size":26564,"collection":179,"collections":27401,"showCount":545,"zanCount":928,"manualWeight":48,"mainColor":128},233874,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233874",[24,114,475,437,565,7,115,35,1290,34,1376,528,27398,27399],"水面景物","淡墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e43c4efc42a9b7fb86aea3f999be41c.jpg",[],{"id":27403,"slug":27404,"title":23797,"dynasty":223,"author":381,"museum":20,"description":10255,"tags":27405,"thumbUrl":27406,"material":1218,"size":10258,"collection":179,"collections":27407,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},233779,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233779",[24,30,28,118,120,153,117,64,7,358,1300,63,528,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08499dfe7a18b26f6177db834ea5c8ca.jpg",[],{"id":27409,"slug":27410,"title":27411,"dynasty":133,"author":434,"museum":27412,"description":27413,"tags":27414,"thumbUrl":27418,"material":360,"size":27419,"collection":179,"collections":27420,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},232804,"xi-luan-cong-xiao-tu-juan-yi-ming-232804","溪峦丛笑图卷","芝加哥艺术博物馆","以全景长卷铺展乡野嬉游盛景，浅溪漾波晕开两岸烟火。左畔村姑骑牛安坐，身侧稚童相随嬉闹；溪水中赤身孩童或逐犬泅水，或呼伴作乐，村人潮间呼喝相和，憨态尽显。右岸坡上乡老士人驻足笑望，眉眼舒展满是欣然。\n\n画师以淡墨晕染溪山底色，铁线白描勾勒身形，将众生欢悦鲜活尽数铺陈，无庙堂端肃，唯存乡野间的自在热络，将村野里乐天肆意的日常意趣定格绢素，尽显民间生活的淳朴真淳。",[23,24,26,28,114,29,61,1170,27415,91,64,7,244,27416,1390,25253,3987,27417],"成人","溪岸","水中活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ae0bc4fce28f14af3c4a14d32f99bc.jpg","29x130cm",[],{"id":27422,"slug":27423,"title":27424,"dynasty":223,"author":647,"museum":551,"description":27425,"tags":27426,"thumbUrl":27427,"material":360,"size":27428,"collection":179,"collections":27429,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},232675,"shan-shui-tu-qing-shan-gu-dao-wang-yuan-qi-232675","山水图(青山古道)","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。\n王原祁为王派山水的小字辈，后来居上。他得益于乃祖王时敏的亲授从而间接吸收营养于董其昌的艺术和思想，无疑具有功力派和灵性派两类画人的资质。在此图册的第4开上，王原祁钤盖“西庐后人”白文印，以表明自己的身份。\n王原祁在吸收南宗诸大师的画艺，特别是黄公望的长处上更见功力。其画以笔墨论，处处见笔、处处有形、处处得意、处处显情，而又浑然一片，气脉贯连。他在淡墨积笔上有独到的把握，淡墨入画虽易见活气但极难苍厚，层层覆笔又易失之于浊，王原祁以淡墨作山石，或勾线以立形，或横笔以辅面，干笔皴擦，湿笔堆点，层层见笔，层层浑合，苍古厚润兼之以“毛”、“涩”，相交生发而神采愈显。此图册的第10开王原祁钤盖“苍润”朱文葫芦印，显示了自己的审美趣味。实际上，王原祁的这枚“苍润”闲章，刻了多方，不同的型制，于30余岁就已使用，沿用一生，充分体现出王原祁的绘画美学趣味，而其绘画本色也与“苍润”之实质十分符合。",[24,25,202,28,30,117,7,426,120,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec42a1201b6359b7b747022555c207d.jpg","80.4x43.5cm",[],{"id":27431,"slug":27432,"title":27433,"dynasty":18,"author":2914,"museum":3521,"description":27434,"tags":27435,"thumbUrl":27436,"material":230,"size":27437,"collection":179,"collections":27438,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},232595,"da-da-shou-lie-tu-juan-chen-ju-zhong-232595","鞑靼狩猎图卷","图绘早期少数民族狩猎的场景。陈居中，生卒年不详，南宋画家，宁宗嘉泰间（公元1201－1204年）任画院待诏。笔墨精致，色彩艳丽，形象准确，神情生动逼真。擅人物、蕃马、走兽等，作品多描绘西北少数民族生活情态及鞍马，多表现社会混乱、民族矛盾给人们带来的离别痛楚。其山羊走兽等亦富有情趣。有《文姬归汉图》、《四羊图》等传世作品。",[23,24,25,26,29,28,61,90,1855,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6f998cad5ff4a67c13137dc8f8c858a.jpg","30.4cm×549.6cm",[],{"id":27440,"slug":27441,"title":27442,"dynasty":223,"author":4999,"museum":20,"description":27443,"tags":27444,"thumbUrl":27445,"material":360,"size":27446,"collection":179,"collections":27447,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},231886,"zhong-qiu-hua-tu-yu-sheng-231886","种秋花图","该画为全景式构图，表现课童种秋花的情景。画心上半部以远山和绿树表现出秋高气爽的时节，下半部重点突出了此画的主题——种秋花。庭院中，有的童子在房前空地处种植，有的给种好的秋卉培土、浇水。画中秋卉缤纷，蜂蝶两三萦绕篱径。整幅画面生动活泼，色彩妍丽，悦人眼目，表现出太平盛世人们安居乐业的惬意生活。",[23,24,28,29,61,7,591,117,35,70,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbdd685cefc1d1ead85b247370e33108.jpg","纵165.8厘米，横93.7厘米",[],{"id":27449,"slug":27450,"title":27451,"dynasty":54,"author":27452,"museum":459,"description":27453,"tags":27454,"thumbUrl":27455,"material":360,"size":27456,"collection":179,"collections":27457,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},231832,"gao-feng-ke-yi-tu-wan-shou-qi-231832","高风可挹图","万寿祺","万寿祺（1603-1652），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍河北沧州，出生地江苏徐州人，与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败後隐居江淮一带。代表作有《秋江别思图》、《松石图》、《山水图》等等。万寿祺为人风流倜傥，工书画，精於六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其後裔第十六代後人万中华，在当今书画中也享有很大的盛誉。",[23,24,25,26,114,437,118,153,119,120,30,289,7,994,35,34,500,244,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40910babbfaf965a65c971e5bbc73be1.jpg","21×76 厘米",[],{"id":27459,"slug":27460,"title":27461,"dynasty":3235,"author":27462,"museum":459,"description":27463,"tags":27464,"thumbUrl":27465,"material":808,"size":809,"collection":179,"collections":27466,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},231790,"ming-qing-ri-ben-gu-hua-fen-ben-shan-shui-juan-he-guo-xiao-zhai-231790","明清日本古画粉本-山水卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,26,114,28,30,31,37,7,1621,818,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d12f5d72d96918e6b40bcf86252f60d.jpg",[],{"id":27468,"slug":27469,"title":27470,"dynasty":3235,"author":27471,"museum":459,"description":27472,"tags":27473,"thumbUrl":27474,"material":808,"size":809,"collection":179,"collections":27475,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},231740,"an-tu-tao-shan-shi-dai-qin-qi-shu-hua-tu-ping-feng-di-er-ping-hai-bei-you-song-231740","安土桃山时代 琴棋书画图屏风第二屏","海北友松","海北 友松（かいほう ゆうしょう、天文2年（1533年） - 慶長20年6月2日（1615年6月27日））は、安土桃山時代から江戸時代初期にかけての絵師。海北派の始祖。",[23,24,202,114,28,30,289,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86678861db0d7126fe8de6b1c0631142.jpg",[],{"id":27477,"slug":27478,"title":27479,"dynasty":3235,"author":434,"museum":459,"description":27480,"tags":27481,"thumbUrl":27482,"material":808,"size":809,"collection":179,"collections":27483,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},231708,"lian-cang-shi-dai-yin-fan-tang-yao-shi-yuan-qi-hua-juan-yi-ming-231708","镰仓时代 因幡堂药师缘起画卷","此卷以长卷铺陈起承转合，开篇池畔官邸廊桥萦回，士人往来水榭，尽显中古贵族日常的闲雅意趣。中段笔锋一转，山石林莽间骑队驰驱，人马错落间带出杀伐行旅的肃杀张力。末段复归静谧山门与深宅，还原仪礼日常。\n\n淡墨勾勒间晕染红褐屋瓦，线描柔劲兼具，古雅底色斑驳厚重。随行文书与画面相映成趣，将信仰缘起与世俗叙事揉为一体，尽展中古绘卷叙事与审美融合的独特韵味。",[23,24,25,26,28,29,59,61,62,90,30,7,35,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8500d26c5220b3230efe9d4238175c7f.jpg",[],{"id":27485,"slug":27486,"title":27487,"dynasty":18,"author":8009,"museum":459,"description":27488,"tags":27489,"thumbUrl":27491,"material":808,"size":809,"collection":179,"collections":27492,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},231042,"pi-pa-yuan-xi-tu-yi-yuan-ji-231042","枇杷猿戏图","该画描述了一株枇杷树，干身扭曲，从石後横斜出了画面，又一枝干自上方角落窜进画中，这样的干身，笔墨虽不相连，意却相牵，但觉画外有画，这是作者在构思这幅画作时，别出心裁之处。",[24,152,25,4253,29,28,202,7192,7040,7,117,27490],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b53e0257dfb4e9133f98235b397650b.jpg",[],{"id":27494,"slug":27495,"title":943,"dynasty":223,"author":2792,"museum":459,"description":27496,"tags":27497,"thumbUrl":27498,"material":179,"size":179,"collection":179,"collections":27499,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":1138},230959,"jiang-shan-qiu-se-tu-wang-hui-230959","此作开合有度，近景流泉穿林而过，丹枫缀枝暗染秋意，山居幽舍藏于崖畔林樾之中，野趣悠然。中层平湖如镜，远山澹澹含烟，铺展出清旷秋山的辽远意境。\n\n笔墨枯润相生，以干笔皴擦写山石肌理，湿笔晕染出山岚空濛，披麻皴裹挟解索皴带出苍浑质感，兼得宋元山水的古雅厚重，又透出灵动秀逸之气。将秋山萧疏清寂与幽居之冶融为一体，师古而不泥古，把秋江林泉的静穆与生机娓娓铺陈，尽显寄兴林泉的文人意韵。",[24,114,118,28,30,63,64,117,7,204,116,153,2451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cf446816c3e98846bde399ef42c87e.jpg",[],{"id":27501,"slug":27502,"title":27503,"dynasty":223,"author":27504,"museum":459,"description":27505,"tags":27506,"thumbUrl":27507,"material":179,"size":179,"collection":179,"collections":27508,"showCount":545,"zanCount":928,"manualWeight":48,"mainColor":49},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[23,24,25,202,114,28,29,118,30,1158,35,7,117,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":27510,"slug":27511,"title":27512,"dynasty":223,"author":2792,"museum":459,"description":27513,"tags":27514,"thumbUrl":27515,"material":179,"size":179,"collection":179,"collections":27516,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},230851,"lu-cun-gao-yi-tu-wang-hui-230851","麓村高逸图","画面以平远之法铺展幽居盛景，近处方林下，高士安坐，侍童静立旁侧，溪桥丹顶鹤独立顾盼。芭蕉修竹环合掩映，屋舍隐于烟林，远景以淡墨晕染，水雾空濛，将江南丘壑的温润清寂尽数铺陈。\n画作兼工带写，设色浅雅柔润，笔致秀逸灵和，把林下高逸散淡的襟怀融在咫尺山水间，环周题跋与画意呼应，书画合璧，尽显文人雅流出世的襟抱，悠悠林下风致扑面而来。",[23,24,28,30,61,1665,269,1620,7,64,117,223,26,29,114,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb7e72fa79915f2446b59af3c56c8c6.jpg",[],{"id":27518,"slug":27519,"title":13731,"dynasty":223,"author":21476,"museum":459,"description":27520,"tags":27521,"thumbUrl":27522,"material":808,"size":809,"collection":179,"collections":27523,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},230362,"shan-shui-ce-ye-wang-zhi-rui-230362","汪之瑞（？—约1660年），字无瑞，号乘槎，清朝安徽休宁人，清初画家。生卒年不可具考，约和查士标同时，为明末新安画家李永昌高足。“新安四家”之一。",[24,25,385,114,118,30,289,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f78b8ecd3718efd6c5667138c15a033.jpg",[],{"id":27525,"slug":27526,"title":27527,"dynasty":223,"author":381,"museum":459,"description":15973,"tags":27528,"thumbUrl":27529,"material":179,"size":179,"collection":179,"collections":27530,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},229002,"tao-yuan-ming-shi-yi-tu-shi-tao-229002","陶渊明诗意图",[24,25,385,28,30,120,119,153,118,2113,358,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd852bf65fd37c1462cfb4617891b0385.jpg",[],{"id":27532,"slug":27533,"title":27534,"dynasty":223,"author":9132,"museum":459,"description":27535,"tags":27536,"thumbUrl":27537,"material":179,"size":179,"collection":179,"collections":27538,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},228925,"gu-dai-jing-guan-ce-ye-shan-shui-ce-ye-gao-cen-228925","古代景观册页（山水册页）","此作用淡墨晕染烟岚，远山沉郁隐现于云气间，似浸着朝暮的湿润清寒。近岸苍松劲挺，修林攒簇，浓淡墨色梳开林木高低层次。坡上屋舍静立，柴门虚掩，似在等候晚归之人。板桥横卧浅溪，仿佛能听见流水带着清响缓缓淌过，将山野的幽寂轻轻漾开。\n\n画作兼取高远与平远构图，笔力苍秀相融，以朦胧墨色铺展江南山水的空濛灵秀。不着繁复皴擦，却将林泉隐逸的静穆之气藏在烟树水色里，观之如踏入无人山境，暂忘尘嚣纷扰。",[23,24,25,385,114,118,30,7,63,35,37,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdad96f547d3a59a538c7965794404c.jpg",[],{"id":27540,"slug":27541,"title":27542,"dynasty":54,"author":23852,"museum":459,"description":27543,"tags":27544,"thumbUrl":27545,"material":179,"size":179,"collection":179,"collections":27546,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},228387,"peng-lai-xian-yi-tu-juan-1-leng-qian-228387","蓬莱仙奕图卷-1","《蓬莱仙弈图》一图由明代 所绘 手卷，著录于《石渠宝笈三编》，有文征明题跋与文彭题引首，为仇英青绿山水的典型画风。\n1. 题跋。\n2. 题引首。\n. 梁清标、梁清寯、清内府递藏。\n图1中描绘池塘边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐；又有三仕女，一执扇，一伏案，一取水，整幅意境悠闲雅淡。\n作品结构严整，层次清晰，布局有序，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。\n此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，是仇英青绿山水的典型画风。\n此件《蓬莱仙弈图》著录于《石渠宝笈三编》，有文徵明题跋与文彭题引首。\n将这幅画与北京故宫藏的一幅南宋团扇《荷亭对弈图》相比较可以发现，此图在图式、母题上与团扇有着惊人的相似之处，最大的区别只是把团扇改成了长卷，另外增加了其他画面中的母题和构图。\n而它与美国华盛顿弗利尔美术馆所藏的冷谦的《蓬莱仙弈》在构图、母题上也毫无二致。\n明代王鏊（145—1524）在《震泽长语》中首次收录了《蓬莱仙弈图》及 的仙化故事。\n“蓬莱”与“仙弈”是道教意象明显的神仙题材，在明代皇帝崇尚道教最鼎盛的嘉靖年间，凡人可成仙的观念已经凭借《蓬莱仙弈图》与多个摹本的传播而深入人心。\n作为民间职业画家的仇英绘制此一题材长卷，也深受当时社会思想风潮的影响。\n“高柳迎风，小亭临水，二人对弈，一人卧观，仕女三，一捧桃，一持扇，一盥于池，童子二，一捧瓶花，一扫地，款十洲仇英模，钤印一十洲。\n后幅题跋十洲仇子于诸画家无所不学，亦无所不似。\n此仙弈图效赵千里笔法，尤为逼真，乃未及三十时为吴文定公所作，正其卧王蒙于纸上，坐徐偃于笔端时也。\n观者可想见其临池之勤矣。\n长洲文徵明，题时丙辰七月五日。\n钤印二徵明。\n……”",[24,25,26,28,27,30,7,289,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f83116d1482be85f63c5b6bf0eda143.jpg",[],{"id":27548,"slug":27549,"title":27550,"dynasty":54,"author":13169,"museum":459,"description":27551,"tags":27552,"thumbUrl":27553,"material":179,"size":179,"collection":179,"collections":27554,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},228354,"hu-zhou-shi-ba-jing-bi-lang-hu-song-xu-228354","湖州十八景－碧浪湖","近景湖心石渚之上，七层浮屠卓然挺立，飞檐层叠错落，宝顶凌云。烟波里扁舟轻摇，水鸟掠波而过，漾开细碎涟漪。左侧崖壁巉岩嶙峋，林木层叠点染，山道间行人如蚁，衬出丘壑的阔远深邃。\n\n远景沙汀逶迤，楼阁隐现于浅赭山峦间，淡墨晕染的远山融于烟岚之中，晕开空濛天色。画作以浅绛设色，笔墨苍秀简逸，写意中兼具工致，既带着文人画的清雅意趣，又细致摹写出水岸林峦的错落层次，将湖山的旷远空濛与烟火生机相融，观之如临其境，尽览湖畔悠然澹远的朝暮意韵。",[23,24,114,28,30,62,115,156,244,7,118,59,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdc45eb224b944a1ca856e776bdaec7.jpg",[],{"id":27556,"slug":27557,"title":27558,"dynasty":54,"author":20212,"museum":459,"description":27559,"tags":27560,"thumbUrl":27561,"material":179,"size":179,"collection":179,"collections":27562,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[23,24,25,385,28,114,30,118,243,37,64,63,62,7,156,116,117,502,61,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":27564,"slug":27565,"title":27566,"dynasty":54,"author":10419,"museum":459,"description":27567,"tags":27568,"thumbUrl":27569,"material":179,"size":179,"collection":179,"collections":27570,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},228306,"yan-qi-si-fang-tu-yong-shou-juan-xiang-sheng-mo-228306","岩栖思访图咏手卷","此卷以水墨铺展江林丘壑，兼具平远寥廓与高岩奇崛。开篇江天浩渺，远山如黛，汀渚间隐见梵刹，渐而危崖层叠，皴笔苍劲朴厚，石骨棱棱间林木枯荣相济，野趣盎然。\n\n左侧篱舍幽居伴山而筑，高士独行江渚，似在访寻幽栖旧友。淡墨晕染烟岚水色，空濛温润间裹挟清寂萧散之意。整卷笔墨清隽秀雅，将江南山水的静穆幽深，与林下思访的文人雅怀相融，把遁世幽栖的林下襟怀寄寓在一山一水间，尽显幽澹出尘的文人山水意趣。",[23,24,25,26,114,30,118,153,119,120,117,7,32,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd5524c43a60e2a5714bd22dfe3beb1.jpg",[],{"id":27572,"slug":27573,"title":3341,"dynasty":133,"author":5646,"museum":459,"description":27574,"tags":27575,"thumbUrl":27576,"material":179,"size":179,"collection":179,"collections":27577,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},228082,"shui-cun-tu-juan-cao-zhi-bai-228082","此作用平远之境铺陈水乡暮色，湖面浩渺空阔，洲渚星罗点缀浅滩，水色澹澹间漾出清寂之意。岸边林木萧疏，枯枝干桠错落伸展，茅舍隐于林间水岸，暗藏三两村意，尽揽江南水村闲淡野趣。\n笔墨以干笔皴擦衬以淡墨晕染，山石苍秀简劲，脱去繁缛刻画，尽显清逸松灵的韵致，以极简笔触勾勒出幽远空寂的林下隐逸之境，暗合文人疏离尘嚣、寄情林泉的雅趣风骨。",[23,152,24,25,26,114,118,30,32,7,1313,35,63,500,661,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db4bab9056df9fa5cfdb5f848bd2a54.jpg",[],{"id":27579,"slug":27580,"title":27581,"dynasty":133,"author":7593,"museum":459,"description":27582,"tags":27583,"thumbUrl":27584,"material":179,"size":179,"collection":179,"collections":27585,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":985},228029,"fang-you-tu-zhao-yong-228029","访友图","此作以俯瞰视角铺展山林逸景，苍褐主调晕出秋山幽寂氛围，枯木茂林错杂交织，将山居隐于浓荫深处，屋中似有故友晤谈，山径上访客策杖徐行，为深林添了几分温然生机。\n\n笔墨融宋人之丘壑写实与元人之意韵疏淡，皴擦简括浑朴，敷色沉敛古雅，将林下访友的雅事晕染在荒寒深秀的山水间，把文人隔绝尘嚣的林下之思，与访旧晤谈的温情悄然揉合，隐逸静穆的意趣扑面而来，尽显幽淡萧散的文人画致。",[23,24,28,30,118,61,116,7,63,64,426,578,579,156,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d375ca9715c4bf281934c0bedd64bd5.jpg",[],{"id":27587,"slug":27588,"title":27589,"dynasty":18,"author":17057,"museum":459,"description":27590,"tags":27591,"thumbUrl":27592,"material":179,"size":179,"collection":179,"collections":27593,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},227975,"yan-cun-qiu-ai-tu-li-an-zhong-227975","烟村秋霭图","这幅画以淡墨轻晕铺就烟霭秋郊，虚实相生间尽显幽远意境。左侧茂林攒聚，细密点染出秋叶苍润的质感，林梢掩映隐约村舍，藏着乡野的静谧烟火。右侧枯木斜倚水岸，孤清萧疏，与左侧的苍林形成疏密对照。\n\n画师以留白晕染烟水空濛，墨色浓淡自然过渡，将暮秋薄霭浮动的氛围感烘托得恰到好处，把秋日郊野的冷寂清旷尽数铺展。带着独有的平和疏淡意趣，将乡野秋日的萧散之美藏在朦胧烟色中，尽显淡远幽微的山水诗意。",[23,152,24,25,30,114,28,118,7,2796,209,64,994,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2756c4f10a3cf56a3d7eba886bd268cd.jpg",[],{"id":27595,"slug":27596,"title":27597,"dynasty":18,"author":434,"museum":459,"description":27598,"tags":27599,"thumbUrl":27600,"material":179,"size":179,"collection":179,"collections":27601,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},227848,"gong-yuan-tu-ye-yi-ming-227848","宫苑图页","此作以青绿晕染山林，界画精工勾勒宫阙楼宇，将苑囿隐于蓊郁林泉之间。山石皴染苍润古朴，旧色晕开厚重雅致的古韵，林木错落掩映殿台飞檐，层层递进的构图铺展出幽深秘境。楼宇斗拱分毫毕现，尽显匠造规整，却融于空山翠色，消解了楼宇冷硬，凭添林泉雅意。它兼具山水画的悠远意境与界画的精工细致，静静铺展着千年前林泉宫阙的静谧古雅，将人工意趣悄然融于天然山水，尽显清和雅致的林苑意韵。",[23,152,24,25,59,29,28,30,62,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd24c709139ea37f1960e2d6294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人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,152,24,25,2895,28,29,59,61,90,7,62,426,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1af322108bf37992fc92f50569bfe5.jpg",[],{"id":27610,"slug":27611,"title":27612,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":27613,"thumbUrl":27615,"material":808,"size":809,"collection":3244,"collections":27616,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},226101,"the-promenade-near-argenteuil-1873-mo-nai-226101","The Promenade near Argenteuil, 1873",[152,7526,3239,10664,9938,9083,27614,8259,411,13914,7,61,1170,18916,3148,5404,9952,502,7418,24054],"自然光线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf67664132c0d436c714a15e4b669099.jpg",[3244],{"id":27618,"slug":27619,"title":27620,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":27621,"thumbUrl":27623,"material":808,"size":809,"collection":3244,"collections":27624,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},225985,"melting-of-floes-at-ve-theuil-1881-mo-nai-225985","Melting of Floes at Vétheuil, 1881",[7526,3239,7661,7527,7528,1290,24891,27622,32,7,2795,818,9085,1191,7778],"融化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8e3a52b1fd28e2461a358c222129b93.jpg",[3244],{"id":27626,"slug":27627,"title":27628,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":27629,"thumbUrl":27632,"material":808,"size":809,"collection":3244,"collections":27633,"showCount":545,"zanCount":928,"manualWeight":48,"mainColor":49},225903,"bathers-at-la-grenouillere-1869-mo-nai-225903","Bathers at La Grenouillere, 1869",[152,7526,3239,10664,9938,9940,24054,27630,1290,66,61,27631,95,7,1446,11755,7530,9905,21784,16518],"光色变化","浴者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84c60ec89242747c19de7147819298f.jpg",[3244],{"id":27635,"slug":27636,"title":27637,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":27638,"thumbUrl":27639,"material":808,"size":809,"collection":3244,"collections":27640,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},225837,"the-rocks-1888-fan-gao-225837","The Rocks 1888",[3239,6957,28,244,7,411,5404,3374,1191,9096,7418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79cffec417f3bb76b470a36fbff7867a.jpg",[3244],{"id":27642,"slug":27643,"title":27644,"dynasty":3235,"author":8170,"museum":459,"description":8171,"tags":27645,"thumbUrl":27646,"material":808,"size":809,"collection":3244,"collections":27647,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":985},225683,"rembrandt-harmensz-van-rijn-093-lun-bo-lang-225683","Rembrandt Harmensz.van Rijn - 093",[3239,4311,8173,61,90,7,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2f8e75bc7701f87f41724d6cdb1bb68.jpg",[3244],{"id":27649,"slug":27650,"title":27651,"dynasty":3235,"author":434,"museum":459,"description":27652,"tags":27653,"thumbUrl":27654,"material":179,"size":179,"collection":179,"collections":27655,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},225306,"fu-shi-hui-34-yi-ming-225306","浮世绘34","澄澈海面轻漾柔波，两艘渔舟缓行其上，晕开悠悠渔隐意趣。苍崖叠翠而起，深浅绿意晕染出繁茂植被的层次，暖黄石径蜿蜒穿梭林间，崖顶山居凭险而建，将山居与山海融为一体。\n\n右下角朱红岸滩衬着古朴鸟居与屋舍，冷暖色调交织柔化了山海边界，把南国的静谧悠然铺陈开来。整体兼具装饰意趣与东方山水意境，以雅致抒情的笔调定格幽远山海之美，带着和风特有的恬淡诗意，引人身临其境踏入这处避世的南国栖居地。",[15217,28,30,115,34,7,117,1390,1364,35,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0bb9f4ca064dd87b79f48836bf455a.jpg",[],{"id":27657,"slug":27658,"title":27659,"dynasty":223,"author":1533,"museum":459,"description":27660,"tags":27661,"thumbUrl":27662,"material":808,"size":809,"collection":179,"collections":27663,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},224475,"jiu-feng-du-shu-tu-zhou-wang-jian-224475","九峰读书图轴","图绘崇山峻岭，苍松平溪，一高士在茅舍内读书。其展卷吟诵的细微举止点明了惬意“读书”的创作主题，寄托着画家的隐逸思想。本幅构图为高远法取势，山脚松木以工整的线条精心刻画，显现出作者以线造型的能力。山顶处以浓墨戳点，有浑点、破竹点、胡椒点、破墨点等，灵活多变的各种点法增强了江南山峦湿润华滋、沉郁深秀的气象。山石的脉络是以元人王叔明（即王蒙）典型的解索皴表现，其拖墨而下，屈曲密集的线条与山石的陡峭走向相一致，增强了山体的雄伟之势。此图堪称王鉴仿王叔明的佳作，全面地展示了其对王蒙画法得心应手的娴熟的运用程度。",[23,152,24,25,202,114,30,118,540,31,117,1289,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4c33a56f8a8f213d47350c092aa3c8.jpg",[],{"id":27665,"slug":27666,"title":27667,"dynasty":223,"author":472,"museum":459,"description":27668,"tags":27669,"thumbUrl":27670,"material":179,"size":179,"collection":179,"collections":27671,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},224426,"fang-huang-zi-jiu-bi-yi-wang-shi-min-224426","仿黄子久笔意","此作用笔苍润松秀，以干笔皴擦勾勒山峦肌理，墨色层染清和淡雅，复刻出元人山水的萧散意趣。画面取高远平远结合之景，主峰巍峨矗立，山间留白以烟岚晕染，将重山包裹得灵动悠然。溪渚蜿蜒穿林而过，村居错落藏于茂林幽谷，坡岸林木扶疏，点染出江南山水温润清和之态。整体气息淡逸空灵，既追摹原作的简远苍浑，又融入自身温厚娴静的笔致，将文人寄情林泉、追慕古意的襟怀，尽藏在这尺幅江山之中。",[23,24,25,202,30,60,118,774,7,64,35,341,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1003f8fca3fdf7c2b59be1131c6e8ea9.jpg",[],{"id":27673,"slug":27674,"title":27675,"dynasty":223,"author":472,"museum":459,"description":11524,"tags":27676,"thumbUrl":27677,"material":11527,"size":11528,"collection":179,"collections":27678,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},224422,"shu-hua-shi-liu-kai-8-wang-shi-min-224422","书画十六开-8",[23,24,114,28,118,385,30,117,64,116,35,7,63,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2243c54b555496c4344dfbf997010309.jpg",[],{"id":27680,"slug":27681,"title":27682,"dynasty":223,"author":10720,"museum":459,"description":27683,"tags":27684,"thumbUrl":27685,"material":179,"size":179,"collection":179,"collections":27686,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},224195,"zhe-xi-cao-tang-tu-wu-hong-224195","柘溪草堂图","《柘溪草堂图》是清代画家 创作的绢本设色画，现藏于南京博物馆。\n该画绘村前一座小桥，湖水绕村，树木绕斋，树林里楼台面水，宾主登楼安坐对谈，超然世外。\n笔墨挺健，景致平远，具有浓厚的写实风格。\n此画远处为较为平缓的山峦，山头仅露出水面。\n隐隐约约，烟雾蒙蒙，茫茫一片，山坡间新篁密密麻麻，白马湖东岸，在丛树掩映下的临水小村，一条清溪绕庄而行，竹树绕斋，楼台面小，并不华丽的庄园建筑，在苍松翠竹红枫的簇拥下显得古朴典雅；宾主登楼端坐其间，正在语笑风生，突然间一人回首远眺，似在观赏周围一片金秋美色，村边座落着一小板桥。\n一扁舟自远方来，泊于桥头，舟中一人捧物躬身而出，作献物状，岸上溪边另一人缓步走来作迎接状，神态自若。\n此图款署“壬子秋九月，拟李咸熙笔意，呈石翁先生教之，金溪吴宏、”钤印“吴宏私印”“远度”。\n画的裱边及玉池中有查士标，梁清标两人题诗，朱彝尊、程邃等七人题词。\n查士标题诗： 我爱白田好，来向白田去。\n白田城南有拓溪，闻是白田最佳处。\n溪边草堂称清幽，古木千章竹万头。\n奇石名花看不足，湖光更上东南楼。\n向年获识石林子，为言别业正在此。\n太公九十瑞人间，早岁弃官遂知止。\n闲来倚石手一编，倦即抛书石上眠。\n华发萧萧眸炯炯，无人知是地行仙。\n石林先生行最少，能读父书得其要。\n芥拾荣名自等闲，翰墨声诗兼众妙。\n命余为作草堂图，佳句传来幻有无。\n伸纸踌躇笔不下，俨如咫尺貌蓬壶。\n名园胜地世多有，辋川吟咏视平泉，主者何人斯不朽。\n千载流传复谁久。\n柘溪之水清且涟，湖波万顷绕平田。\n太平乐事长如此，还为高人结大年。\n梁清标题诗： 侍御结庐溪水浔，万株桑柘昼阴阴。\n迤逦晴沙眠野鹭，高低灌木鸣春禽。\n编篱插槿蔽风雨，琴书北窗何萧森。\n门无车马惊铃索，中有幽人事苦吟。\n幽人为谁侍御是，直节当年山岳峙。\n正笏曾陈痛哭书，拂衣早办登山履。\n经纶袖手赋归来，白头高卧草堂里。\n海水扬尘岁月移，草堂无恙日舒迟。\n蒹葭秋色霜飞后，鸡犬村扉昼闭时。\n巾车野服临湖岸，载酒轻船泛射陂。\n屏居白眼向寥廓，闻说先生犹健在。\n令子忻看傍凤池，闲身不羡图麟阁。\n倚杖频耕万亩云，延年岂假千金药。\n遥望伊人水一方，客来独拜德公床。\n疑是李愿住盘谷，不然种柳如柴桑。\n我欲从之问丹诀，放歌散发濯沧浪。\n《柘溪草堂图》作于康熙十一年（1672），此图为应宝应乔莱之请，画其父可聘居处柘溪草堂秋景。\n此画采用以实写虚的方法，借湖水、古木、草堂，以写云烟变幻，求得“有限中出无限，无画处成妙境”的艺术境地。\n此图中的物象并无高山峻岭，而只是湖天淼茫，属于通常所说的“平远”之景。\n但在吴氏的笔下却显示出“高远”的意境。\n画法不拘泥于前人，落笔大胆而收拾严整。\n笔墨苍秀，厚重劲健。\n板桥和山石等的勾勒，也皆是顿挫雄壮的阳刚之风。\n山石以乱柴皴间杂斧劈皴画之，水墨晕染，树木画法工细，繁而不乱，人物、房舍、扁舟表现自然，敷色清雅明亮。\n此画面有较大的空白，不仅体现了艺术家想象的本领，而且可以引起读者丰富的审美想象。\n教授张长虹：尽管带有应酬性质，吴宏此画仍属成功之作，这可能与其豪迈性格有关。\n吴宏，生卒年未详、清代画家。\n宏，一作弘，字远度，号竹史，江西金溪人，寓江苏汀宁（今南京）。\n诗书均精。\n幼好绘事，自辟蹊径。\n顺治十年（165）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸，得诸家之长而能出己意。\n偶作竹石，亦有水墨淋漓之致。\n与樊圻、邹喆、叶欣、胡慥、谢荪、高岑、龚贤为“金陵八家”。",[23,152,24,25,202,28,118,30,35,7,63,64,115,579,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":27688,"slug":27689,"title":599,"dynasty":223,"author":10720,"museum":459,"description":27690,"tags":27691,"thumbUrl":27692,"material":808,"size":809,"collection":179,"collections":27693,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},224194,"shan-shui-tu-wu-hong-224194","吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。",[23,2895,24,114,118,30,579,117,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d02ac75ef5b73d4c0984f4926cabcc.jpg",[],{"id":27695,"slug":27696,"title":27697,"dynasty":223,"author":3836,"museum":459,"description":27698,"tags":27699,"thumbUrl":27700,"material":179,"size":179,"collection":179,"collections":27701,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,24,25,202,28,29,30,7,35,63,64,115,37,31,540,1665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":27703,"slug":27704,"title":27705,"dynasty":223,"author":3836,"museum":459,"description":27706,"tags":27707,"thumbUrl":27708,"material":179,"size":179,"collection":179,"collections":27709,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[23,24,25,202,28,29,118,30,61,63,64,116,35,540,117,386,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":27711,"slug":27712,"title":27713,"dynasty":18,"author":434,"museum":459,"description":27714,"tags":27715,"thumbUrl":27716,"material":360,"size":27717,"collection":179,"collections":27718,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},223568,"xi-shan-xing-tu-zhou-yi-ming-223568","溪山行图轴","深深地描绘了秋天的景色。 绿图已枯，枫红团，山脚下长长的行人匆匆而过； 飞瀑流泻而下，水底已雾蒙蒙； 几间房屋隐藏在山谷中，或者寺庙是高大的殿堂，它们是住宅。 依山傍水，是一处修身养性的美丽之地； 山峰可能隐高，峰顶怪异，山脊稳定。",[23,24,152,202,28,118,30,341,747,204,7,63,64,62,61,90,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":27720,"slug":27721,"title":27722,"dynasty":18,"author":434,"museum":111,"description":27723,"tags":27724,"thumbUrl":27725,"material":140,"size":27726,"collection":179,"collections":27727,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},223378,"shi-liu-ying-zhen-du-hai-tu-juan-yi-ming-223378","十六应真渡海图卷","文中斯别开生面。形状奇怪夙所称，耳熟闻之目新见。苍鳞若龙若非龙，擎爪来闻法以现。第一。据树坐椸钵多罗，鸦鹊来餐香积饭。第二。飘然白鹤驾以降，屈眴七条披已惯。第三。数珠在手。第四。把明珠。第五。自摇箑其貌颟顸。第六。端立左铃而右杵。第七。扶童者迵顾彼崖。第八。是皆渡海履水物。水物狰狞名不辨。拍持具叶。第九。促舍汉。第十。白泽曳轮坐以晏。别有袖手乘骞槎。第十一。相参法喜作佳伴。据石入定若无人。第十二。牛哀跪伏如猫豢，傍见共谘二大士，其一默坐。第十三。一持扇。第十四。似步而迥更迥，第十五。臃肿披缁目光炫。第十六。跏趺相对谈二禅。云空。第十七。云色。第十八。色空幻，是为不二法之宗。绣居士说法编，向曾韵统考同文。位号次第订梵汉。莆田愚者不羁士。传神何碍后前舛。长歌笑我尚拘墟。山阴讶似镜中按。乾隆乙巳（1785）仲秋，御题。",[23,24,152,26,437,114,923,61,4537,1855,117,7,881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbfb5332900a9dfc823e81b021913cf.jpg","29X322",[],{"id":27729,"slug":27730,"title":27731,"dynasty":223,"author":4356,"museum":20,"description":9518,"tags":27732,"thumbUrl":27733,"material":9521,"size":9522,"collection":179,"collections":27734,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":8279},223141,"shi-wan-tu-ce-5-ren-xiong-223141","十万图册5",[23,24,28,27,29,385,30,289,6116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189bbf05898f4a844375d2898e2f33d.jpg",[],{"id":27736,"slug":27737,"title":27738,"dynasty":223,"author":27739,"museum":459,"description":27740,"tags":27741,"thumbUrl":27742,"material":28,"size":179,"collection":179,"collections":27743,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},223131,"qun-xian-tu-ren-xun-223131","群仙图","任薰","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽（马、羊等）无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。\n他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。\n任薰作品在香港拍卖较多，1986年即有作品参加拍卖，1986年5月一件《双钩花鸟册》（共十二张）卖到45000港元。1989年5月又拍卖过两幅作品，一幅扇面《钟馗》以24200港元成交，另一幅《秋景山水》轴也是24000港元。1990年11月拍卖的一件《花卉草虫画集》册页价格偏低，只有17600港元，第二年9月是一件册页则达到12万港元，这是一件八开山水人物册页，山水人物比他的花卉草虫要珍贵得多。\n任薰作品也在纽约拍卖，1989年拍卖的《人物》四屏立轴卖到18700美元，1990年11月拍卖的一幅《仕女》扇面是1540美元。1992年6月纽约苏富比公司又推出两幅任薰作品，一为山水轴（128.6*60.3），作于1876年，估价不高，为1200－1500美元，以1700美元成交。另一幅人物轴（92.7*41.3公分）由于起价太高而未拍出。",[23,24,25,28,29,61,30,62,7,1855,881,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6b02a2a93b694310e08a39e6c70fa4.jpg",[],{"id":27745,"slug":27746,"title":27747,"dynasty":223,"author":858,"museum":514,"description":859,"tags":27748,"thumbUrl":27749,"material":140,"size":869,"collection":179,"collections":27750,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},222984,"hong-lou-meng-109-sun-wen-222984","红楼梦109",[23,24,29,28,59,61,19478,7,689,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F858eab4cec4a5f22c722e84f1f2a69c0.jpg",[],{"id":27752,"slug":27753,"title":27754,"dynasty":223,"author":858,"museum":514,"description":859,"tags":27755,"thumbUrl":27757,"material":140,"size":869,"collection":179,"collections":27758,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},222960,"hong-lou-meng-85-sun-wen-222960","红楼梦85",[23,24,29,28,25,61,273,62,9360,7,591,70,694,7050,27756],"古典题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5931b04bf779205467c8bc8bd7f07551.jpg",[],{"id":27760,"slug":27761,"title":14628,"dynasty":223,"author":858,"museum":514,"description":859,"tags":27762,"thumbUrl":27763,"material":140,"size":869,"collection":179,"collections":27764,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":1138},222938,"hong-lou-meng-63-sun-wen-222938",[23,24,29,28,61,62,70,7,117,175,17723,11309,1344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f82b48ad4bbd75929ec78aef15756fa.jpg",[],{"id":27766,"slug":27767,"title":15276,"dynasty":223,"author":858,"museum":514,"description":859,"tags":27768,"thumbUrl":27769,"material":140,"size":869,"collection":179,"collections":27770,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},222921,"hong-lou-meng-46-sun-wen-222921",[23,29,28,59,61,170,62,63,7,269,70,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f68ca4c6fa9ab7880091059a4ab8cc1.jpg",[],{"id":27772,"slug":27773,"title":27774,"dynasty":223,"author":858,"museum":514,"description":859,"tags":27775,"thumbUrl":27776,"material":140,"size":869,"collection":179,"collections":27777,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":1138},222916,"hong-lou-meng-41-sun-wen-222916","红楼梦41",[23,152,24,25,26,29,28,61,62,70,7,117,173,2856,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71143b0e3881c22a1570161c623f281c.jpg",[],{"id":27779,"slug":27780,"title":27781,"dynasty":223,"author":858,"museum":514,"description":859,"tags":27782,"thumbUrl":27783,"material":140,"size":869,"collection":179,"collections":27784,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},222887,"hong-lou-meng-12-sun-wen-222887","红楼梦12",[23,565,29,28,59,61,62,70,7,76,2856,22496,22570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93316b2f943f9790c60e28115b7951e.jpg",[],{"id":27786,"slug":27787,"title":27788,"dynasty":54,"author":801,"museum":658,"description":27789,"tags":27790,"thumbUrl":27791,"material":506,"size":27792,"collection":179,"collections":27793,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},222340,"wu-yang-zi-yang-xing-tu-quan-juan-tang-yin-222340","悟阳子养性图全卷","图绘溪水流淌、绿树成荫的幽静之处，有草厅一间，一老者坐于蒲团之上，双手握于膝上，仰望的姿势似观赏远处的大好山水，身旁一桌上置诗书几本，表达出修身养性的意境；卷后有文徵明题《悟阳子诗叙》，二大才子书画合璧，精彩绝伦！",[23,24,25,26,114,120,119,30,61,358,7,289,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7458bac5765bb1775c9eeabee74ee5f5.jpg","29.5x103.5cm",[],{"id":27795,"slug":27796,"title":23299,"dynasty":54,"author":434,"museum":3399,"description":3400,"tags":27797,"thumbUrl":27798,"material":3402,"size":179,"collection":179,"collections":27799,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},222149,"fu-hui-dong-yi-ming-222149",[23,3402,28,29,61,1856,30,2193,1124,7,32,591,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969e04e58a9a76dbc8e73e19f7ef5a5b.jpg",[],{"id":27801,"slug":27802,"title":27803,"dynasty":54,"author":110,"museum":111,"description":7236,"tags":27804,"thumbUrl":27805,"material":415,"size":7240,"collection":179,"collections":27806,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},222093,"liang-jiang-ming-sheng-tu-ce-5-shen-zhou-222093","两江名胜图册5",[23,24,25,385,28,30,118,62,7,117,1044,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ed3b156ab6352fef75398d40a0743.jpg",[],{"id":27808,"slug":27809,"title":27810,"dynasty":54,"author":3689,"museum":167,"description":27811,"tags":27812,"thumbUrl":27813,"material":230,"size":27814,"collection":44,"collections":27815,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":128},222071,"ba-tuo-l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porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[28042,23947,8941,28043,1525,30,115,63,64,116,7,61,243],"青花","插屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed00e7621d03287f1ae29c4fb16db2f.jpg",[],{"id":28047,"slug":28048,"title":28049,"dynasty":54,"author":434,"museum":459,"description":28050,"tags":28051,"thumbUrl":28055,"material":808,"size":809,"collection":179,"collections":28056,"showCount":720,"zanCount":928,"manualWeight":48,"mainColor":49},269049,"ke-si-yao-chi-ji-qing-tu-zhou-yi-ming-269049","缂丝瑶池吉庆图轴","祥云萦绕苍松翠岭，青鸟穿掠林岫。执莲仙子静立高台，环伺仙娥或捧礼相贺，或拨弦奏乐，衣袂翩跹如随流云舒展。青绿晕染层叠峰峦，金线勾勒衣袍光华，水波萦回、松石错落，将瑶池的清灵仙气揉入吉庆盛景中。\n\n整作走线细密匀整，配色古雅沉稳，以缂丝之工将群仙赴会的悠然盛景定格丝帛。既工笔描摹出仙娥衣饰的纤巧纹理，又晕染出仙境缥缈出尘的氛围感，把仙家盛会的祥和安乐尽显于此，气韵华贵古雅，尽显仙乡的清宁吉庆。",[24,152,202,566,28,61,28052,28053,30,117,64,7,591,2997,1856,6113,28054],"仙女","瑶池","吉庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c7fdd20e3da758f38f4a40dd86956d.jpg",[],{"id":28058,"slug":28059,"title":28060,"dynasty":223,"author":434,"museum":459,"description":28061,"tags":28062,"thumbUrl":28064,"material":808,"size":809,"collection":179,"collections":28065,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},248410,"hei-qi-miao-jin-shan-shui-tu-hai-tang-shi-pan-yi-ming-248410","黑漆描金山水图海棠式盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[25836,28063,30,63,7,156,676],"描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b833f69cc1ddd420721b935c05f16.jpg",[],{"id":28067,"slug":28068,"title":28069,"dynasty":223,"author":28070,"museum":459,"description":28071,"tags":28072,"thumbUrl":28073,"material":808,"size":809,"collection":179,"collections":28074,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},241455,"zhi-huang-yi-shu-zha-juan-weng-fang-gang-241455","致黄易书札卷","翁方纲","翁方纲（1733年～1818年），字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴（今北京大兴区）人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。",[23,152,24,25,26,120,114,30,35,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2046f6985be116f7a0839c7580a05488.jpg",[],{"id":28076,"slug":28077,"title":28078,"dynasty":223,"author":28079,"museum":459,"description":28080,"tags":28081,"thumbUrl":28082,"material":179,"size":179,"collection":179,"collections":28083,"showCount":720,"zanCount":11,"manualWeight":48,"mainColor":128},239550,"fang-bei-yuan-shan-shui-tu-zhou-zhang-xue-ceng-239550","仿北苑山水图轴","张学曾","张学曾仿北苑山水图轴是清顺治十二年的图轴。\n《仿北苑山水图》轴，张学曾绘，纸本，墨笔。\n此画远景为巨大的山石，以披麻皴绘出，山体及近处丛树、苔草施以墨点，一小桥延伸而去。\n构图简远，韵味无穷。\n“北苑”指五代时南唐著名山水画家董源，由于他曾任北苑使之职，故名。\n画幅中笔势苍茫，吐纳北苑；笔墨干湿浓淡、画风平淡天真处又受董其昌影响。\n款署：“乙未仲冬画仿北苑似子木词坛张学曾。\n”钤“张学曾印”白文印、“张尔唯氏”朱文印。\n“乙未”为清顺治十二年（1655年）。\n鉴藏印有孙煜烽、庞莱臣诸印：“孙煜烽珍藏印”朱文印、“希逸”白文印、“虚斋审定”白文印、“庞莱臣珍藏印”朱文印。",[24,25,202,114,30,63,117,7,61,153,60,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3154627689548e75d9c6124eddbd477e.jpg",[],{"id":28085,"slug":28086,"title":28087,"dynasty":223,"author":28088,"museum":459,"description":28089,"tags":28090,"thumbUrl":28091,"material":808,"size":809,"collection":179,"collections":28092,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},239422,"fang-nan-tian-shan-shui-zhou-bi-han-239422","仿南田山水轴","毕涵","毕涵，[清]（1732—1807）字有涵，号焦麓，又号止庵道人，晚称篆竹居士，阳湖（今江苏常州）人。",[24,25,202,114,118,60,30,117,7,35,32,500,674,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b1631bfd1fe0fb06f0c5ed8d3eddc.jpg",[],{"id":28094,"slug":28095,"title":16808,"dynasty":54,"author":28096,"museum":459,"description":28097,"tags":28098,"thumbUrl":28099,"material":179,"size":179,"collection":179,"collections":28100,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},239212,"bai-ma-tu-juan-xu-bao-239212","许宝","《百马图卷》作者明代 许宝。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n【名称】明许宝百马图卷 【年代】明 【简介】绢本，设色，纵：26cm，横：728.cm。\n现藏故宫博物院。\n是图卷首部分残破严重，卷尾署款“许宝”，钤印“ ”、“烟霞散人”。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n马匹以 勾勒，重彩填色，工细之处远胜南宋院体，与 的树石画风既形成鲜明的对比，又相融相汇形成一体。\n马群多处于静态，其微妙之处在于同为静态的马匹竟有着百种不同的姿态，可见作者有着很强的把握马匹细微活动的能力，同时画家也兼具了 和 的山水画风和置景技巧。\n该卷堪称是现存最长的画马图，代表了明人画马的最高艺术成就。\n遗憾的是，许宝其人被画史疏漏，这卷杰作被深藏于皇宫大内，久不为世人所知。\n许宝（生卒年不详），明代画家。\n画史无载。\n存世画作有《百马图》，现存故宫博物院。",[23,24,26,28,29,118,90,1855,7,117,411,206,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cb3ca3a9a8b62711cebe01b4011b3a.jpg",[],{"id":28102,"slug":28103,"title":3901,"dynasty":223,"author":25320,"museum":459,"description":25321,"tags":28104,"thumbUrl":28105,"material":179,"size":179,"collection":179,"collections":28106,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},239011,"shan-shui-ce-li-dong-239011",[24,25,385,59,28,30,62,7,289,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deb277063c436f61bd78e3b9d51ccb4.jpg",[],{"id":28108,"slug":28109,"title":28110,"dynasty":223,"author":26105,"museum":459,"description":28111,"tags":28112,"thumbUrl":28113,"material":179,"size":179,"collection":331,"collections":28114,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},238995,"jiao-yang-shu-wu-zhou-xiang-kui-238995","蕉阳书屋轴","项奎（1623-1702）明末清初画家，〔清〕字天武、子聚，号东井、墙东子、墙东居士、水墨处士，秀水(今浙江嘉兴)人，元汴曾孙，德达孙，徽谟子，生卒年不详。幼承家学，善山水，兼长兰竹。山水喜用秃笔，秀雅枯淡，颇得元人枯淡之趣；所画兰竹亦逸秀可爱，年七十属友人撰生圹志，寿至八十",[24,25,202,114,437,118,120,30,358,269,7,117,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286bfda2e0e761bb51ae22ce879f272.jpg",[331,103],{"id":28116,"slug":28117,"title":28118,"dynasty":223,"author":28119,"museum":20,"description":28120,"tags":28121,"thumbUrl":28122,"material":360,"size":28123,"collection":124,"collections":28124,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},238983,"shan-shui-ce-zhong-lin-gao-xia-wang-chen-238983","山水册－重林高下","王宸","在册的画幅都比较小，从作者题语也可知道，很大程度上不是为明确目标而作，只是闲暇时自己借之寓意寄兴，因此画面气氛淡雅怡然。",[24,25,385,114,28,118,30,7,117,62,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6b50a0c85ac70858bbdf6267b4a59f.jpg","纵21厘米，横28.2厘米",[124],{"id":28126,"slug":28127,"title":11240,"dynasty":223,"author":11241,"museum":459,"description":11242,"tags":28128,"thumbUrl":28129,"material":179,"size":179,"collection":179,"collections":28130,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},238830,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238830",[24,25,385,28,30,7,64,1289,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5706309f6fd33bb74c27c1cde65221ba.jpg",[],{"id":28132,"slug":28133,"title":11240,"dynasty":223,"author":11241,"museum":459,"description":11242,"tags":28134,"thumbUrl":28135,"material":179,"size":179,"collection":179,"collections":28136,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},238829,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238829",[24,25,385,28,29,119,153,116,62,7,117,269,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02502eb809bcd8237cc41a3879222c5.jpg",[],{"id":28138,"slug":28139,"title":11240,"dynasty":223,"author":11241,"museum":459,"description":11242,"tags":28140,"thumbUrl":28141,"material":179,"size":179,"collection":179,"collections":28142,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},238825,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238825",[24,25,385,28,27,114,30,117,7,994,116,64,153,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20f4b4295b749a2cf96304df748a5cf.jpg",[],{"id":28144,"slug":28145,"title":14224,"dynasty":223,"author":434,"museum":459,"description":28146,"tags":28147,"thumbUrl":28149,"material":179,"size":179,"collection":44,"collections":28150,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},238638,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238638","全景式铺展西南崇山战事，左侧隘楼雄峙，苗民凭险据守，河谷中短兵相接，刀戈交错间硝烟翻涌，清军列阵衔枚疾突，将平乱鏖战的肃杀张力尽数铺陈。\n刀工笔触细致入微，山石褶皱、将士甲胄纹理皆清晰可辨，既还原了山地地貌的奇崛险峻，也将攻防拉锯的实景如实复刻。右上角御题诗文与战事图景相映，融纪实叙事与帝王题咏于一体，以铜版镂刻定格边疆平乱的宏大场面，兼具纪实史料价值与清代版画工艺之美。",[565,437,29,118,385,30,61,90,62,117,7,14227,3315,93,28148],"战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a5ad1038662987587c2d95a68d04a4.jpg",[44],{"id":28152,"slug":28153,"title":27217,"dynasty":54,"author":434,"museum":459,"description":28154,"tags":28155,"thumbUrl":28156,"material":808,"size":809,"collection":179,"collections":28157,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},238577,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238577","这幅作品以山海分野铺陈画面，左畔怒涛卷雪，水怪与神兵于浪尖缠斗翻涌，波谲云诡间尽显征伐张力；右列仪卫整肃，旌旗猎猎，神将冠服严整端凝，满是安邦肃穆之气。\n\n设色华贵明丽，赤金与青绿撞色浓烈却谐和，线条铁画银钩，既绘出惊涛奔涌的动感，又将仪卫威仪刻画入微。以神魔靖海的图景暗喻绥疆平乱，把征伐的惊险与受降的庄穆并置，将庙堂祈愿的升平藏于奇幻工致的院体笔墨中，笔底皆是护国安澜的恢弘叙事。",[24,25,385,29,28,61,6116,117,7,1124,881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902b103254387191a4e0bc0f152e6f24.jpg",[],{"id":28159,"slug":28160,"title":25341,"dynasty":223,"author":11241,"museum":459,"description":11242,"tags":28161,"thumbUrl":28162,"material":179,"size":179,"collection":179,"collections":28163,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},238415,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238415",[24,25,385,28,118,30,7,64,204,61,244,271,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F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著有《五百四峰堂诗钞》《五百四峰堂续集》《药烟阁词钞》，戏曲《芙蓉亭》等。\n诗从学李贺、黄庭坚入手，刻意求新，极“峻拔清峭”（王昶《湖海诗传》）之致，能自树一格。张维屏《国朝诗人征略》称：“其诗由山谷（黄庭坚）入杜，而取炼于大谢（灵运），取劲于昌黎（韩愈），取幽于长吉（李贺），取艳于玉溪（李商隐），取瘦于东野（孟郊），取僻于阆仙（贾岛）。锤焉凿焉，雕焉琢焉，于是成为其二樵之诗”。他的记游、题赠之作较多。不少诗描绘了两广山水风光、名胜古迹，如《藤县》《白马角》《龙门滩》《邕州》《白鹤观登五龙潭上玉女峰》《冲虚观至朱明洞》《浴日亭》《江南岸蕉园歌》等。也有少数篇章，反映民间疾苦，如《田中歌》，反映少数民族的风习，如《歌节》《大排三十八韵》等。\n其书法，意志追晋人，中年兼学李北海，晚年写苏黄两家为多，隶书真追《礼器》《熹平石经》，传世书法作品甚丰，显示了他在书法上的不断追求。肇庆七星岩石室岩洞内有他的《南服陨石》刻石，隶书体，秀劲舒放，纵横跌宕，属黎书上品。\n黎简工山水，早年粗犷、率意的用笔，侧重写生的表现，则多属效法明末清初的广东先哲。中年临摹倪云林、石涛作品，几可达到与真迹无异的境地。由近及远地求索，融古汇今地创新，师自前人，不囿于前人，始终是黎简所遵循的山水画创作主线。在这种意识指导下，创作出来的作品，自然会有一种清新、活泼的感觉。而且，由于他是以绝无“甜赖”气的元人、“搜尽奇峰打草稿”的石涛的技法，作为其创法的基调，又兼具乾隆盛世艺术所惯有的平稳、温润，对曾被扬州八怪个性化花鸟画震撼过的人们来说，黎简这种挑战主流派的山水画，又是一次新的震撼。\n黎简的篆刻，虽然属他诗书画的“余事”，但他有深厚的传统文化基础，才思敏捷。他的篆刻，得汉人神髓，参以己意，作品淳厚苍雄，意格甚高，自成面目。自刻图章曰“小子狂简”，刀法峻傥。又能治铜印。1962年，麦华三等辑成《二樵山人篆刻佚存》1册。",[24,25,202,114,28,118,30,7,540,117,37,358,61,502,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg",[124,45],{"id":28195,"slug":28196,"title":20917,"dynasty":54,"author":7795,"museum":459,"description":24410,"tags":28197,"thumbUrl":28198,"material":808,"size":809,"collection":179,"collections":28199,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":1138},237964,"shan-shui-shan-ye-wen-bo-ren-237964",[2895,114,118,30,7,117,32,61,116,10874,3755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0d74be524d3c7e5a4ee1128812e7204.jpg",[],{"id":28201,"slug":28202,"title":380,"dynasty":223,"author":9303,"museum":459,"description":28203,"tags":28204,"thumbUrl":28205,"material":179,"size":179,"collection":124,"collections":28206,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},237946,"shan-shui-tu-ce-liu-yu-237946","此作用笔苍秀松灵，水墨晕染细腻柔和。近岸古木扶苏，枝桠虬曲，掩映草庐幽居，野意盎然。水面开阔澹澹，远山以淡墨轻勾慢染，云气留白氤氲萦绕，将山水融于空濛烟岚之中，尽显林泉高致。\n左侧题字笔意萧散俊朗，文辞雅致，书画相映，尽显文人画以境抒怀的意趣，藏着寄情丘壑、静享林泉的隐逸之思，整幅清和淡远，悠悠古韵漫溢其间。",[24,25,385,114,118,119,153,30,7,117,64,37,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce52f527ef696f31244a5464d7952c1f.jpg",[124,331],{"id":28208,"slug":28209,"title":28210,"dynasty":54,"author":10774,"museum":459,"description":28211,"tags":28212,"thumbUrl":28213,"material":808,"size":809,"collection":179,"collections":28214,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},237845,"shi-hu-yan-yu-shan-sheng-mao-ye-237845","石湖烟雨扇","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[24,25,2895,114,28,30,6897,7,118,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34da1d8c00124d4b0cf45f9a7503e11.jpg",[],{"id":28216,"slug":28217,"title":28218,"dynasty":54,"author":28219,"museum":459,"description":28220,"tags":28221,"thumbUrl":28222,"material":179,"size":179,"collection":124,"collections":28223,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},237784,"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-jing-237784","诸家山水册-山水册页","王允京","字谦文，号秋岩，江宁（今南京）人。为和阳教谕。工写竹枝。《金陵琐事》",[24,25,385,114,118,30,63,61,289,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16133cce0fa9f391194a7d8bb3d8e77.jpg",[124,45],{"id":28225,"slug":28226,"title":380,"dynasty":223,"author":13104,"museum":459,"description":28227,"tags":28228,"thumbUrl":28229,"material":179,"size":179,"collection":124,"collections":28230,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},237773,"shan-shui-tu-ce-ye-xin-237773","此作以青绿晕染湖山，近岸花树沿陂陀错落，山坳幽居藏于林木间，空阔湖面一叶扁舟随波缓行，远岫含晕，漾起空濛淡荡之致。设色秀雅温润，笔致简净松灵，不事繁饰，将林泉幽居的闲散意绪尽数铺展。左侧题诗与画境相映成趣，诗画合璧，把文人耽恋泉石、寄迹烟水的雅怀融于尺幅间。观之如临江南水畔，可感湖风轻拂，坐忘于萧疏清寂的闲淡之中，尽显小品山水的隽雅意韵。",[24,25,385,28,30,115,116,7,117,64,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad576d6b1c3c42c220f6545a8771fde7.jpg",[124],{"id":28232,"slug":28233,"title":3901,"dynasty":223,"author":4544,"museum":20,"description":4545,"tags":28234,"thumbUrl":28235,"material":1218,"size":179,"collection":179,"collections":28236,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},237197,"shan-shui-ce-sun-yi-237197",[152,24,25,385,28,114,118,30,62,7,117,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c9ae6b32d3066b4d617082b16f677c.jpg",[],{"id":28238,"slug":28239,"title":3901,"dynasty":223,"author":4544,"museum":20,"description":4545,"tags":28240,"thumbUrl":28241,"material":1218,"size":179,"collection":179,"collections":28242,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},237194,"shan-shui-ce-sun-yi-237194",[152,24,25,114,118,385,30,7,117,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0fa1be76a14ec377d2bcc7648a0aaa.jpg",[],{"id":28244,"slug":28245,"title":3901,"dynasty":223,"author":28246,"museum":459,"description":28247,"tags":28248,"thumbUrl":28249,"material":808,"size":809,"collection":124,"collections":28250,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},236989,"shan-shui-ce-zhang-xi-236989","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[24,25,385,28,114,118,119,120,153,30,63,64,115,156,7,117,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a52e9365afa6a8bd693900aeb0cf10b.jpg",[124],{"id":28252,"slug":28253,"title":28254,"dynasty":223,"author":647,"museum":20,"description":28255,"tags":28256,"thumbUrl":28257,"material":230,"size":28258,"collection":124,"collections":28259,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},236745,"shan-shui-ce-zhuang-zhou-wang-yuan-qi-236745","山水册装轴","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。\n做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,385,114,28,118,30,7,32,500,674,138,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d98e5c615a051dce4e256c2ba540a7.jpg","纵29cm，横42.3cm",[124,103,1822],{"id":28261,"slug":28262,"title":26303,"dynasty":54,"author":20574,"museum":459,"description":28263,"tags":28264,"thumbUrl":28265,"material":808,"size":809,"collection":179,"collections":28266,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},236682,"shan-shui-shan-jiang-qian-236682","蒋乾（1525—？）明代画家。字子健，金陵（今江苏南京）人。\n嵩子，隐居吴郡（今江苏苏州）虹桥，困以为号。破屋半间，一介不苟。八十年如一日。江盈科为长洲宰，表其庐曰“东海冥鸿”。善山水，清拔古雅，过於乃父。嘉靖四十二年（1563）仿王蒙山水图。",[24,201,2895,30,994,117,64,115,118,7,1290,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4dd3c710ef5cd3dbc82276a1c1a9b4.jpg",[],{"id":28268,"slug":28269,"title":26303,"dynasty":54,"author":3786,"museum":459,"description":20918,"tags":28270,"thumbUrl":28271,"material":808,"size":809,"collection":179,"collections":28272,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},236672,"shan-shui-shan-lu-zhi-236672",[2406,24,25,2895,114,118,30,7,35,117,500,674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196bbb134e80b6f36e725053aa201834.jpg",[],{"id":28274,"slug":28275,"title":20917,"dynasty":54,"author":28276,"museum":459,"description":28277,"tags":28278,"thumbUrl":28279,"material":808,"size":809,"collection":179,"collections":28280,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},236303,"shan-shui-shan-ye-lu-jie-zhi-236303","陆介祉","字纯嘏，鄞县（今浙江宁波）人。明诸生。明亡遂弃举子业，以诗、画寄兴，故喜绘老松古柏，以见奇节。顺治八年（一六五一）作山水扇，见故宫周刊。",[2406,2895,24,114,30,7,118,117,5815,14526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F764eb5b4a3aacab1e79554ed9715f9ba.jpg",[],{"id":28282,"slug":28283,"title":28284,"dynasty":54,"author":28285,"museum":459,"description":28286,"tags":28287,"thumbUrl":28288,"material":808,"size":809,"collection":179,"collections":28289,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},236292,"fang-dong-ju-shan-shui-shan-zheng-zhong-236292","仿董巨山水扇","郑重","郑重，字千里，号无著，歙（今安徽歙县）人，流寓金陵（今南京）。好楼居，日事香茗。善写佛像，必斋沐而后举笔。丁云鹏推为赵伯驹后身。亦画山水小景。摹仿宋、元体均精妍。万历四十年（1612）临王蒙葛仙移居图，顺治五年（1648）作《十月岭梅图》。《无声诗史、歙县志、故宫书画集、风雨楼扇粹》。",[24,25,2895,114,118,30,116,7,117,500,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed8d49fe244e8fef28c5ebf7ff8baf7.jpg",[],{"id":28291,"slug":28292,"title":28293,"dynasty":54,"author":28294,"museum":459,"description":28295,"tags":28296,"thumbUrl":28297,"material":179,"size":179,"collection":179,"collections":28298,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},235839,"yu-nv-tan-tu-ye-zhu-lang-235839","玉女潭图页","朱朗","此作用笔温润雅致，右侧幽谷深潭静卧山坳，苍岩皴笔朴拙苍劲，潭水以淡墨晕染出澄澈空濛之态。临潭水榭半隐于松荫翠色中，隐约有人凭栏观览，将林泉雅意收于咫尺画幅。\n\n左侧题咏行书笔致清逸舒展，诗画相映，衬出潭水的仙灵意境。整幅工写兼施，将江南山水的温婉秀润与文人幽居雅兴相融，以细腻笔墨勾勒出涤净尘俗的林泉胜境，尽显寄情山水的抒情意趣。",[24,25,28,30,120,118,153,116,7,64,117,69,37,502,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa612ad865fbda0ae6c6443e63e8c7ad5.jpg",[],{"id":28300,"slug":28301,"title":28302,"dynasty":223,"author":434,"museum":459,"description":28303,"tags":28304,"thumbUrl":28305,"material":179,"size":179,"collection":179,"collections":28306,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},235669,"yuan-yao-shan-shui-ping-wan-song-die-cui-yi-ming-235669","袁耀山水屏-万松叠翠","此作以平远之法铺展意境，烟波浩渺的水中央渔舟错落，漾出鲜活的烟火意趣。近岸孤亭翼然矗立，凭栏可尽览春水汤汤。层叠山峦渐次抬升，古松苍劲蟠虬遍布崖间，粉花点缀在青绿间晕开春日暖意，山坳间云烟漫溢，柔化了山石嶙峋棱角。\n\n笔墨清润雅致，皴染兼具，既勾勒出山峦肌理脉络，又以淡色晕染出江南山水的氤氲温润。静穆丘壑与渔家日常相映相融，将春日江南的安闲悠然藏入尺幅，融写景之真与写意之柔，尽显清润平和的山水意韵。",[24,25,28,29,118,30,761,62,880,117,7,37,116,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647fdf8eda29f8f9c0689b73a349e40c.jpg",[],{"id":28308,"slug":28309,"title":5675,"dynasty":223,"author":3937,"museum":459,"description":3938,"tags":28310,"thumbUrl":28311,"material":808,"size":809,"collection":179,"collections":28312,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},235617,"hong-ren-shan-shui-ce-hong-ren-235617",[152,24,25,385,114,118,30,7,62,117,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1b5516758b3d884ab3b86e03394ea7.jpg",[],{"id":28314,"slug":28315,"title":28316,"dynasty":54,"author":13169,"museum":459,"description":28317,"tags":28318,"thumbUrl":28319,"material":808,"size":809,"collection":179,"collections":28320,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},235579,"lin-tang-ye-xing-tu-shan-ye-song-xu-235579","林塘野兴图扇页","此图仿佛是从一幅大画上截下的局部，其树林、稻田、坡地以及水域的画意均不完整，如此的构图，反而增强了想像空间，达到了“画外有画”的特殊效果。画面用笔粗旷，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[24,2895,114,30,7,117,358,63,64,1044,61,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa033729b0f39343c16511a93fc209eff.jpg",[],{"id":28322,"slug":28323,"title":28324,"dynasty":223,"author":28325,"museum":459,"description":28326,"tags":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朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[24,25,385,114,118,30,7,117,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec48f3525fd186a4d11bebd26ce56d54.jpg","23.2厘米，横28厘米",[],{"id":28366,"slug":28367,"title":3901,"dynasty":223,"author":3775,"museum":20,"description":28360,"tags":28368,"thumbUrl":28369,"material":936,"size":28363,"collection":179,"collections":28370,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},235023,"shan-shui-ce-wu-li-235023",[24,114,118,385,30,117,64,204,7,4075],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa663103a3f1d07138a071d3f921f0598.jpg",[],{"id":28372,"slug":28373,"title":8890,"dynasty":223,"author":3550,"museum":20,"description":24567,"tags":28374,"thumbUrl":28375,"material":8893,"size":8894,"collection":179,"collections":28376,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},234966,"wu-wai-tian-yuan-tu-ce-kun-can-234966",[24,25,385,114,30,761,1473,116,3295,4677,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8bb02271028ddcb05ec95b99f2e0965.jpg",[],{"id":28378,"slug":28379,"title":8890,"dynasty":223,"author":3550,"museum":20,"description":24567,"tags":28380,"thumbUrl":28381,"material":8893,"size":8894,"collection":179,"collections":28382,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},234964,"wu-wai-tian-yuan-tu-ce-kun-can-234964",[152,24,25,385,114,118,30,35,7,117,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4e6b9ba91bd3e9308d797823b473d9.jpg",[],{"id":28384,"slug":28385,"title":20917,"dynasty":54,"author":8650,"museum":459,"description":23765,"tags":28386,"thumbUrl":28387,"material":808,"size":809,"collection":179,"collections":28388,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},234774,"shan-shui-shan-ye-lan-ying-234774",[2895,114,118,30,115,7,35,117,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f143f8608502a52ea91be63a03f0c3.jpg",[],{"id":28390,"slug":28391,"title":28392,"dynasty":223,"author":381,"museum":459,"description":1590,"tags":28393,"thumbUrl":28394,"material":179,"size":179,"collection":179,"collections":28395,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},234654,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234654","原济金陵十景图册",[24,25,385,114,120,153,30,243,7,35,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b5033947f4b0a441807f1b0facb7a0.jpg",[],{"id":28397,"slug":28398,"title":28399,"dynasty":223,"author":28400,"museum":20,"description":28401,"tags":28402,"thumbUrl":28403,"material":179,"size":179,"collection":179,"collections":28404,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},234615,"shan-shui-wan-shan-lin-shu-234615","山水纨扇","林纾","林纾（1852年11月8日—1924年10月9日），中国近代文学家，字琴南，号畏庐，别署冷红生，福建闽县（今福州市）人。晚称蠡叟、践卓翁、六桥补柳翁、春觉斋主人。室名春觉斋、烟云楼等。\n早年曾从同县薛锡极读欧阳修文及杜甫诗。后读同县李宗言家所藏书，不下三四万卷，博学强记，能诗，能文，能画，有狂生的称号。光绪八年（1882年）举人，官教论，考进士不中。二十六年（1900年），在北京任五城中学国文教员。所作古文，为桐城派大师吴汝纶所推重，名益著，于是任北京大学讲席。\n辛亥革命后，入北洋军人徐树铮所办正志学校教学，推重桐城派古文。\n后在北京，专以译书售稿与卖文卖画为生。曾创办“苍霞精舍”——今福建工程学院前身。工诗古文辞，以意译外国名家小说见称于时。复肆力于画。山水初灵秀似文徵明，继而浓厚近戴熙。偶涉石涛，故其浑厚之中颇有淋漓之趣。其题画诗云：“平生不入三王派，家法微微出苦瓜，我意独饶山水味，何须攻苦学名家？”。花鸟得其师陈文台之传，淡墨薄色，神致生动。\n晚年居北京，求者多以山水，而花鸟则不复作矣。著畏庐文集、诗集、春觉斋题画跋及小说笔记等。",[24,25,2895,28,30,62,289,7,118,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3cc5f175b7f04bff2dba309b92c9616.jpg",[],{"id":28406,"slug":28407,"title":28408,"dynasty":223,"author":28409,"museum":459,"description":28410,"tags":28411,"thumbUrl":28412,"material":179,"size":179,"collection":179,"collections":28413,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},234614,"lan-cui-du-shu-wan-shan-yuan-xu-234614","览翠读书纨扇","袁煦","袁煦（约为1764年前后生人），乾隆五十九年（1794年）举人，清代济南府长山县人，礼部尚书、协办大学士纪昀女婿。清朝中期画家，工山水，官至内阁中书、军机章京。注：出生时间参照其中举时间（1794年）与纪昀三子纪汝似（1766年生人）的出生时间。",[24,25,2895,28,30,117,64,7,35,500,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98a43fe28f1dab8cfc0a33bfb1cc98a4.jpg",[],{"id":28415,"slug":28416,"title":28417,"dynasty":54,"author":28418,"museum":459,"description":28419,"tags":28420,"thumbUrl":28421,"material":179,"size":179,"collection":179,"collections":28422,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},234493,"qiu-lin-ya-zhen-shan-ye-wei-xue-lian-234493","秋林鸦阵扇页","魏学濂","魏学濂（1608年—1644年），明代官员。字子一，号内斋，一作容斋，浙江嘉善人，魏大中次子，崇祯十六年（1643年）进士，擢庶吉士，明亡后先降李自成，不久又羞愧自缢。平生擅画山水，兼工花鸟。",[24,2895,114,118,7,156,117,500,1665,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92dd15adde64d03325d8a441afab8aa.jpg",[],{"id":28424,"slug":28425,"title":28426,"dynasty":223,"author":28427,"museum":459,"description":28428,"tags":28429,"thumbUrl":28430,"material":179,"size":179,"collection":179,"collections":28431,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},234489,"fan-zhou-gui-cun-shan-ye-gu-sheng-234489","泛舟归村扇页","顾升","顾升,原名峒，字虞东，因生而掌文有升字，改名升，更字隅东，号斗山，又号石帆，仁和(今杭州)人。\n顾升，原名峒，字虞东，因生而掌文有升字，改名升，更字隅东，号斗山，又号石帆，仁和(今杭州)人。国子生，以子贵封承德郎翰林院庶吉士。书、画、篆、隶俱工，又善画大人物，松石大幅尤佳。康熙四十四年(1705)南巡，进诗画册。著写山楼并题画诗",[24,2895,114,30,115,7,63,64,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c18aedc0239552953e824f8f99ceb25.jpg",[],{"id":28433,"slug":28434,"title":6800,"dynasty":223,"author":2792,"museum":20,"description":28435,"tags":28436,"thumbUrl":28437,"material":506,"size":179,"collection":179,"collections":28438,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},234305,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234305","王翚（1632－1717），字石谷，号象文，一号臞樵、乌目山人、耕烟散人、耕烟外史、清晖主人、清晖老人、剑门樵客、耕烟野老、耕烟老人、天放闲人、雪笠道人、海虞山樵等。江苏常熟人。一代山水大家，开创“虞山画派”，有“画圣”之誉。与王时敏、王鉴、王原祁并称“四王”；合吴历、恽寿平，世称“清六家”。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，为“虞山派”之首。",[24,25,385,28,118,958,30,341,342,7,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246786c908a5af84ff097e5edaba0cbb.jpg",[],{"id":28440,"slug":28441,"title":23797,"dynasty":223,"author":381,"museum":20,"description":10255,"tags":28442,"thumbUrl":28443,"material":1218,"size":10258,"collection":179,"collections":28444,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},233777,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233777",[24,25,385,114,28,120,118,30,61,35,7,500,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa129f1fd9aee99203d27679dcaa08816.jpg",[],{"id":28446,"slug":28447,"title":23797,"dynasty":223,"author":381,"museum":20,"description":10255,"tags":28448,"thumbUrl":28449,"material":1218,"size":10258,"collection":179,"collections":28450,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},233772,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233772",[24,25,385,114,28,120,118,30,540,358,61,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b13f182bff57b8fc3868382c434e29.jpg",[],{"id":28452,"slug":28453,"title":28454,"dynasty":18,"author":434,"museum":459,"description":28455,"tags":28456,"thumbUrl":28457,"material":179,"size":179,"collection":179,"collections":28458,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},233699,"yu-le-tu-ye-yi-ming-233699","渔乐图页","绘三只渔船捕鱼归来,泊于古松幽篁掩映下的岸边.舟上人物或正在用餐,或忙于其他事情,充满生活的气息",[24,152,25,2895,28,114,118,30,61,115,7,64,639,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389669d69d09b3873a5a16e2df01015f.jpg",[],{"id":28460,"slug":28461,"title":28462,"dynasty":54,"author":28463,"museum":459,"description":28464,"tags":28465,"thumbUrl":28466,"material":179,"size":179,"collection":124,"collections":28467,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},233479,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233479","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,385,437,114,30,7,117,63,64,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e3ee77b6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第十五罗汉图立轴","褐肤罗汉宝光护体，踞坐松石之下，虬髯深目自带威严沉静之气，团龙织金僧衣华贵雅致，手托丹丸，尽显尊者超凡气度。身前侍者躬身颔首，神态恭谨至极，主仆情态形成鲜明反差，生动勾勒禅门仪轨。\n\n背景古松盘虬苍劲，悬垂鎏金佛灯晕染出清幽肃穆的禅意氛围。整作线条顿挫凝练，设色雅致沉稳，衣纹晕染层次丰厚，将人物的神性与俗世情态刻画入微，尽显佛画写实功力，禅林静谧之韵扑面而来。",[23,202,24,923,28,61,29,7,8321,28525,28526,28527,28528,117,28529,28530,28531,28532,175],"小僧","光头","光环","衣纹","花纹","服饰图案","坐姿","跪姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc639c5a1ca97303fcca2c116d190498.jpg",[],{"id":28536,"slug":28537,"title":28538,"dynasty":3235,"author":434,"museum":3752,"description":28539,"tags":28540,"thumbUrl":28542,"material":360,"size":28543,"collection":179,"collections":28544,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[23,24,26,28,29,61,7,30,64,62,63,117,1621,273,5993,28541,156],"坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","31.7×196.6cm",[],{"id":28546,"slug":28547,"title":28548,"dynasty":54,"author":28549,"museum":167,"description":28550,"tags":28551,"thumbUrl":28552,"material":1410,"size":28553,"collection":179,"collections":28554,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},231407,"xiao-xiang-ba-jing-ba-kai-zhang-fu-231407","潇湘八景八开","张复","张復（1546—约1631），字元春，号苓石，江苏太仓人。少年时从钱榖学画，山水摹荆浩、关仝、马远、夏珪、黄公望、沈周，博采众长，晚年自成一家，为吴门画派名家。",[23,24,25,385,114,118,59,30,62,7,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d47fbd7178128b198163f92967b60e.jpg","40x36cm",[],{"id":28556,"slug":28557,"title":28558,"dynasty":133,"author":28559,"museum":167,"description":28560,"tags":28561,"thumbUrl":28562,"material":140,"size":28563,"collection":179,"collections":28564,"showCount":720,"zanCount":928,"manualWeight":48,"mainColor":49},231402,"han-yuan-tu-li-rong-jin-231402","汉苑图","李容瑾","此图分为殿阁区和水面区两部分，景色各异，作者采用鸟瞰式的构图，将殿阁和水面貌一一展现。刻画得非常具体细致，画面的右侧为殿阁区，以直线、横线、斜线绘成了一组优美的宏伟的建筑群：用笔严谨，刻画精到细密，一丝不苟。\n画面上，宫苑殿阁依山傍水而建，描绘了三重天井。由左下角十字歇山顶的桥亭，沿山径进入画面第一重天井，左侧围以曲折的长廊，廊外水面上构筑一重檐歇山顶的凉亭。再向上进入画面第二重天井，左右两侧均以悬崖削壁为天然屏幛。第三重天井中建一高峻的台基，台面上矗立着一座巍峨的双层楼阁，上层为重檐十字歇山顶，下层檐的左、右、前方各出一歇山抱厦。\n汉代宫苑早于汉高祖、萧相国时，即有营建。当时之未央宫，因龙首山制前殿，建东阙、北阙、武库、太仓等，周围二十八里，台殿池苑无数，宫成后常为朝见之所。王莽末年毁于兵火。如班固的《西都赋》、张衡的《西京赋》中，有关于汉代宫苑盛况的详尽描述，此轴则以绘画的形式展现了汉苑的宏丽气象。\n全画取近乎长方形的构图，殿阁占去画面的三分之二，整个汉苑图，宫阙巍峨，连甍矗栋，雕栏回廊，殿阁缛丽重深，周围树木耸峙，掩映成趣。在这一建筑群的高处，遥望远处，为烟波浩渺的水面，碧波万顷，气象万千；直到很远的地方与起伏的小山相接。凉亭临水，江水泊岸，楼台掩映，楼台亭阁生辉；近处植有松柏，林木翁翳，花竹摇艳，移步换影，处处秀丽迷人的景色；遥望远处，山山水水，美不胜收。其殿阁楼台等建筑物，其严谨笔直的线条与苍松崖石的穿插姿态相映，更显出楼阁的气势非凡。精湛的笔墨则再现了汉苑特有的风釆。\n图中的建筑从群体的布局组合到单体的结构装饰，都不是道地的汉时规范，而是宋以后的形制，例如鸱尾和脊兽的处理就是明证。但画家将历史和现实、景和情、势和意，通过惨淡的经营、创造的意匠，实现了统一。\n此图界画工整，折算精确，游规矩准绳之内而不为所窘。此图景物恢弘，气魄博大。树石画法承北宋郭熙，多作双勾夹叶，用笔粗壮放达，与郭熙《窠石平远图》相一致。但与郭熙不同，《汉苑图》纯用夹叶树，满山遍冈，葳蕤郁茂，增添了画面豪华郁丽的氛围。近境坡石从卷云皴化出，圆润流畅，清空跌宕；遥山旷荡，杂树暝漾，神韵独绝。\n中国美术学院艺术人文学院教授毛建波：汉代国家统一，国力殷实，都城、宫殿、苑囿、礼制建筑和陵墓等，十分兴盛。汉代苑囿规模惊人，作为游乐之所，苑囿里的宫殿常于中轴对称之外有更多自由灵活的处理，这种情形在《汉苑图》中有很好的体现。\n北宋内府《宣和画谱·宫室叙论》：“画者取此（指宫室）而备之形容，岂徒为是台榭、户牖之壮观者哉？虽一点一笔，必求诸绳矩，比他画为难工。”",[24,25,202,59,29,28,62,399,30,7,69,117,70,9530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6d6d9c9afdd18b07e1bff7f30e833.jpg","纵156.6厘米，横108.7厘米",[],{"id":28566,"slug":28567,"title":28568,"dynasty":223,"author":28569,"museum":514,"description":28570,"tags":28571,"thumbUrl":28572,"material":373,"size":28573,"collection":179,"collections":28574,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},231354,"huan-hua-li-yin-tu-zhang-qia-231354","浣花吏隐图","张洽","此图绘写江南明媚春光。从题跋可知，此图是嘉善盐生王启焜赴四川监茶道时，张洽为其作的送行图，七位题跋者均为同时送行之人。",[23,24,114,118,30,341,342,63,7,35,37,3630,540,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5ca2fc160f4ec5491402f8bad41d44.jpg","32cmx99cm",[],{"id":28576,"slug":28577,"title":19412,"dynasty":223,"author":19189,"museum":459,"description":28578,"tags":28579,"thumbUrl":28580,"material":808,"size":809,"collection":179,"collections":28581,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},231049,"shen-zhu-you-ju-tu-cheng-sui-231049","程邃（1607年—1692年），字穆倩、朽民，号垢区、青溪，明末清初篆刻家、书画家。 歙县（今属安徽）人，生于松江华亭（今上海松江）。",[24,114,118,25,202,30,63,64,115,35,7,243,1067,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ac9ac3c05eaead2a85ddd28c5c67b9.jpg",[],{"id":28583,"slug":28584,"title":20557,"dynasty":223,"author":11992,"museum":459,"description":28585,"tags":28586,"thumbUrl":28587,"material":808,"size":809,"collection":179,"collections":28588,"showCount":720,"zanCount":928,"manualWeight":48,"mainColor":128},230923,"shan-shui-tu-shan-mian-shang-rui-230923","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文\n康熙十一年（1672）作《仿周臣山水人物图》轴，现藏辽宁省博物馆；三十二年（1693）作《桐阴书屋图》、三十八年作《绣谷送春图》藏故宫博物院；三十二年作《携琴访友图》卷藏旅顺博物馆；雍正二年（1724）作《溪山密雪图》藏日本大阪市立美术馆；《为友梅作行乐图册》藏苏州市博物馆。著有《习余吟》。1904年北京故宫博物院出版《清释目存仿宋元山水册》影印本。",[24,2895,114,28,30,7,116,61,2316,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5310bef9780ef758a53339e81bc9fb1c.jpg",[],{"id":28590,"slug":28591,"title":28592,"dynasty":3235,"author":434,"museum":459,"description":28593,"tags":28594,"thumbUrl":28595,"material":808,"size":809,"collection":179,"collections":28596,"showCount":720,"zanCount":928,"manualWeight":48,"mainColor":128},230521,"fang-gu-shan-shui-ren-wu-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230521","仿古山水人物粉本(狩野家藏图卷)","此作用笔清灵秀润，远景山峦以淡墨晕染烟岚，虚实相映，漾着空濛出尘的诗意。近岸急流翻涌，山石皴擦朴拙苍劲，野舟闲泊浅滩，衬出林野的幽寂清旷。\n\n崖畔山居窗内，二人对坐晤谈，为清冷山水晕开一抹人间暖意。作者以淡彩轻点秋树，将隐逸栖居的雅趣融于尺幅间。整卷动静相生，水墨为骨，淡彩辅之，把文人寄情林泉的理想缓缓铺展，笔简意长，尽显萧疏淡远的古典山水意韵。",[23,24,25,26,28,958,153,30,61,64,7,37,117,116,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a50f0e0e083ec39fc14796d667cb7.jpg",[],{"id":28598,"slug":28599,"title":28600,"dynasty":54,"author":2636,"museum":459,"description":19847,"tags":28601,"thumbUrl":28602,"material":808,"size":809,"collection":179,"collections":28603,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},228870,"shu-hua-he-bi-gui-qu-lai-ci-wen-zheng-ming-228870","书画合壁归去来辞",[23,24,25,26,120,114,540,10294,1665,117,345,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951ce94121c71e1716a09cb31ca991f2.jpg",[],{"id":28605,"slug":28606,"title":28607,"dynasty":54,"author":4230,"museum":459,"description":28608,"tags":28609,"thumbUrl":28610,"material":179,"size":179,"collection":179,"collections":28611,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},228848,"tai-ping-le-shi-ce-ye-dai-jin-228848","太平乐事册页","这幅小品以淡设色晕开市井闲趣，将夏末庭院的松弛烟火揉进笔墨之中。\n老树枝叶扶苏，筛下细碎光影暖了砖地庭院。案上杯盏果点错落，宴饮二人神态各异，把酒嗅香者意趣盎然，醉眼惺忪者颓然可爱。稚童偎依酣睡，廊下妇人牵着幼童探看，满是家常温情。\n笔意简淡灵动，设色清雅柔和，无需繁复刻画，便将太平年月里松弛鲜活的烟火日常藏在每处细节里，恬淡治愈，尽显俗世安乐。",[24,25,385,28,29,61,7,5382,5385,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3def9883fb33303890ae95371969100e.jpg",[],{"id":28613,"slug":28614,"title":1142,"dynasty":54,"author":434,"museum":459,"description":28615,"tags":28616,"thumbUrl":28617,"material":179,"size":179,"collection":179,"collections":28618,"showCount":720,"zanCount":928,"manualWeight":48,"mainColor":49},228783,"ru-bi-tu-yi-ming-228783","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,24,25,152,26,29,28,61,62,63,64,116,90,30,7,117,89,1420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":28620,"slug":28621,"title":28622,"dynasty":54,"author":7593,"museum":459,"description":28623,"tags":28624,"thumbUrl":28626,"material":179,"size":179,"collection":179,"collections":28627,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},228401,"yu-dong-qun-xian-tu-zhao-yong-228401","玉洞群仙图","青绿晕染出层叠仙山，苍松虬枝斜曳，桃林漫山绽花，幽谷间烟云轻漾。群仙散游林泉：或围坐松下清谈，或策杖寻幽揽胜，或凭崖临流遐观，情态自在萧散，尽得世外雅逸之趣。\n\n全卷气息清灵古雅，山水与人物相融无间，青绿妍丽厚重，人物笔致简逸传神，烘托出洞天幽寂出尘的氛围。卷后题咏呼应画境，诗画合璧，将文人梦寐中的栖隐仙乡藏于尺幅之间，尽显世外仙乡的出尘之致。",[23,24,25,26,2406,28,29,30,61,28625,7,117,120],"群仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85733ce0975ae279b032bedb227bdbd2.jpg",[],{"id":28629,"slug":28630,"title":28631,"dynasty":54,"author":20010,"museum":459,"description":28632,"tags":28633,"thumbUrl":28634,"material":179,"size":179,"collection":179,"collections":28635,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},228372,"dong-ting-qiu-yue-tu-ye-chen-huan-228372","洞庭秋月图页","此作用淡墨轻晕出洞庭秋夜，远景汀洲隐在烟霭中似有若无，湖面细碎波纹漾开，仿佛浸着满轮秋月的清辉。近岸茂林环着临水小榭，不见明月，却以空濛水光晕染出月色铺陈的幽寂氛围，以虚写实，将秋夜湖面上的清寒辽远尽数铺开。\n\n左侧题诗行书隽秀舒展，桂香月色融在诗句与淡岚间，诗画呼应，把洞庭秋夜的澄澈空灵晕成一片静谧逸境，寥寥笔墨间尽显文人雅致的幽远诗意，勾勒出江南月夜独有的清寂意趣。",[23,24,25,385,28,114,30,2316,116,7,1290,120,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9446575332c01a3b587a8e0d7377ac.jpg",[],{"id":28637,"slug":28638,"title":28639,"dynasty":54,"author":434,"museum":459,"description":28640,"tags":28641,"thumbUrl":28642,"material":179,"size":179,"collection":179,"collections":28643,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},228350,"chun-jiang-xing-zhou-tu-ye-yi-ming-228350","春江行舟图页","近景峭峰被苍林簇拥，山石皴染细腻，草木氤氲温润生机。江面烟波澹澹，远岸晕作朦胧黛色，留白晕出濛濛水汽，晕染出暮春江天的辽远空寂。几叶扁舟缓行江上，帆影悠悠，将水居行旅的松弛闲散揉入开阔江境。\n\n此作用色雅致淡逸，以小青绿晕染山峦，无浓艳堆砌，尽显清隽澹泊。尺幅之间藏千里之势，静山与动舟相映，把春江暮景的悠然意境铺展尽致，揽入江南水天的温柔清寂，观之如沐江上春风，得小品山水的澹远意趣。",[23,24,25,14733,28,30,4243,7,243,4848,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ea2a72ac10508a352aa6f165a194fc.jpg",[],{"id":28645,"slug":28646,"title":28647,"dynasty":54,"author":1510,"museum":459,"description":28648,"tags":28649,"thumbUrl":28650,"material":179,"size":179,"collection":179,"collections":28651,"showCount":720,"zanCount":928,"manualWeight":48,"mainColor":128},228329,"lan-ting-shi-xu-tu-juan-qian-gong-228329","兰亭诗序图卷","此作以长卷铺展，左幅行书长题呼应雅集意韵，卷中山水苍润清雅，茂林修竹环绕曲溪，将雅集盛景尽藏其间。画中雅士或临流待觞，或围坐清谈，或凭栏观山，人物意态从容散逸，尽显林下风流。\n\n笔墨以淡墨皴染山峦林泉，勾勒松筠奇石尽显苍秀灵润，把诗文意境融入山水人物，以静雅水墨晕染出雅集的清旷高致，让千年前的文会雅韵宛在眼前，尽显追慕古贤的文人意趣。",[23,24,25,26,114,29,120,30,61,116,63,64,7,244,504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fce7c7c1d0fbf13a0cc677d54615b4.jpg",[],{"id":28653,"slug":28654,"title":28655,"dynasty":133,"author":5646,"museum":459,"description":28656,"tags":28657,"thumbUrl":28658,"material":179,"size":179,"collection":179,"collections":28659,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},228254,"jiang-shu-qiu-sheng-tu-ye-cao-zhi-bai-228254","江树秋声图页","平远取景铺展江天浩渺，远山以淡墨轻笼，晕染出空濛悠远的秋意。近岸枯木萧疏遒劲，枝桠清瘦如篆，茅庐隐于林下，悄然静立在清寒暮色里。\n\n笔墨简淡秀润，以干笔皴擦写山峦肌理，线条松灵虚和，墨色层层晕染，淡而不薄。题画小诗与山水相映，将江乡秋夜的孤清乡思揉进尺幅之中。整幅画以简驭繁，褪去浓丽，尽显尚意之趣，把深秋江渚的寂寥、幽居林泉的隐逸澹然融为一体，淡墨里藏着清寂的心境，寥寥数笔便绘就了江乡秋声里的悠远闲情。",[152,24,25,385,114,118,30,994,117,1290,2869,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbf747142db1b200e064b2ce56cf2e.jpg",[],{"id":28661,"slug":28662,"title":28663,"dynasty":133,"author":8929,"museum":459,"description":28664,"tags":28665,"thumbUrl":28666,"material":179,"size":179,"collection":179,"collections":28667,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},228246,"luo-fu-shan-qiao-tu-zhou-chen-ru-yan-228246","罗浮山樵图轴","一幅中国古画，作者 ，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[23,24,25,202,114,118,30,117,204,7,206,500,1474,38,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":28669,"slug":28670,"title":28671,"dynasty":133,"author":434,"museum":459,"description":28672,"tags":28673,"thumbUrl":28674,"material":179,"size":179,"collection":179,"collections":28675,"showCount":720,"zanCount":928,"manualWeight":48,"mainColor":985},228207,"han-lin-mu-yang-tu-yi-ming-228207","寒林牧羊图","此作用枯淡笔墨铺就冬日荒林野趣，老木虬枝盘曲苍劲，枯槎交错伸展，枝桠间漫着清寂萧寒之气。寒林以浓淡墨色层叠排布，晕染出悠远静谧的林野纵深，将冬日郊野的空旷萧索尽数铺开。下方缓坡错落起伏，羊群或垂首啮草，或缓步闲游，为冷寂林野晕开细碎生机。整体笔墨简劲苍润，以留白衬出郊野清阔空寂的氛围，于萧寒之中暗蕴悠然意趣，尽显简远萧散的林下幽情。",[24,30,114,118,202,994,12160,117,413,7,1855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef393f39116b943b3c6158679749db8.jpg",[],{"id":28677,"slug":28678,"title":19886,"dynasty":18,"author":3618,"museum":459,"description":28679,"tags":28680,"thumbUrl":28681,"material":179,"size":179,"collection":179,"collections":28682,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},227985,"yin-yan-fei-pu-tu-jiang-can-227985","此作用笔苍劲老辣，以峭壁飞瀑为骨，劲健短皴刻画出岩崖嶙峋肌理，枯松斜生崖侧，野意横生。飞瀑层叠奔泻，似能耳闻激浪轰雷之声，下方乱石承接流泉，晕开湿润山野意趣。\n\n墨色沉郁古雅，以浓淡晕染远近虚实，留白极简却将山涧清幽之气铺溢满幅，尽显荒寒空寂的林下意境，把山野深僻的冷冽幽寂凝于绢素，观之便如临崖畔，水雾山风似拂面而来，尽显宋人山水中尚意尚理的清雅品格。",[23,24,25,152,202,30,118,2113,5213,7,117,114,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1dacd0160a8842c4476672188c8c9bf.jpg",[],{"id":28684,"slug":28685,"title":28686,"dynasty":18,"author":434,"museum":459,"description":28687,"tags":28688,"thumbUrl":28689,"material":179,"size":179,"collection":179,"collections":28690,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},227885,"shui-cun-lou-ge-tu-ye-yi-ming-227885","水村楼阁图页","此作以平远之法铺陈水村之景，水墨晕染间漫开烟霭濛濛的空寂氛围。近岸浅滩林木错落，村阁隐于繁荫之中，扁舟系于汀渚，渔人偶见，野趣自生。远景山峦在淡墨晕染里渐隐于烟岚，虚实相生，尽显江南水乡湿润清润的暮色闲情。笔墨简淡松灵，不刻意雕琢细节，以氤氲水墨烘托出悠远超脱的隐逸意趣，将水村的静谧安闲融在烟水空濛之中，尽显山水小品尚简尚意的审美意趣，观之如身临水乡，忘却尘俗喧嚣。",[23,24,25,114,28,30,59,385,118,62,7,64,138,500,37,3601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4a8c6f80550372908613f813f541d8.jpg",[],{"id":28692,"slug":28693,"title":5657,"dynasty":18,"author":298,"museum":459,"description":28694,"tags":28695,"thumbUrl":28696,"material":179,"size":179,"collection":179,"collections":28697,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},227582,"xiao-jing-tu-juan-li-gong-lin-227582","李公麟，北宋著名画家，字伯时，号龙眠居士，北宋舒州(今桐城)人。其白描绘画为当时第一，《宣和画谱》第七卷评价他的作品曰：“(龙眠)尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。”\n\n《孝经》大约成书于公元前350-公元前200年，在北宋时被列入“十三经”，成为儒家经典之一。李公麟的话中加入了他对孝道的理解，作品将道德承载功用与书法功底结合，以及宋人以书法来翻译古人模拟自然的画法。",[23,152,24,25,26,437,114,61,62,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750ead0dcaa7216f7a4c885b5bc5545.jpg",[],{"id":28699,"slug":28700,"title":28701,"dynasty":990,"author":434,"museum":459,"description":28702,"tags":28703,"thumbUrl":28704,"material":179,"size":179,"collection":179,"collections":28705,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},227226,"jiang-mo-bian-yi-ming-227226","降魔变","【 唐 佚名 《降魔变文》 】卷，纸本设色，27.5×571.5cm，法国国家图书馆藏。此卷敦煌遗物在1908年被法国的希伯和所盗取。画面从笔墨和造型上看应当是真正的唐代人物宗教故事画，虽非名手所作，但也是珍贵的文物，为研究唐代人文宗教历史提供了第一手材料。\n画卷中的国王、外道和佛弟子的形象特征鲜明。描绘了外道如何向国王口出狂言，扬言自己本领高强，要取代佛弟子的地位。他们制造显现出离奇的景象、恐怖的物事、吓人的声音、惊惧的场面，企图威慑佛弟子；佛弟子则神态平静，在淡然默语之中，展现神通，一一予以粉碎、消除、化解、冲刷得干干净净。国王看到这一切，当然心悦诚服，欣喜异常。外道则黔驴技穷，一筹莫展，最终不得不遵从国王的旨意，归顺了佛弟子。",[23,24,25,26,923,28,29,437,61,1855,1124,156,7,117,412,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dd62430861a3914d1d4d7d6ab142ba.jpg",[],{"id":28707,"slug":28708,"title":28709,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":28710,"thumbUrl":28711,"material":808,"size":809,"collection":3244,"collections":28712,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},226091,"the-pond-at-montgeron-1876-mo-nai-226091","The Pond at Montgeron, 1876",[3239,7526,152,2246,7,7420,14595,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa269b29de7b328e1e2d9824cd341f051.jpg",[3244],{"id":28714,"slug":28715,"title":28716,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":28717,"thumbUrl":28718,"material":808,"size":809,"collection":3244,"collections":28719,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},226080,"the-japanese-footbridge-1920-22-mo-nai-226080","The Japanese Footbridge, 1920-22",[7526,3239,9096,10664,9949,9085,63,64,7,1290,2725,1191,8259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d821bdc237cb738e8fdd058a4846293.jpg",[3244],{"id":28721,"slug":28722,"title":28723,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":28724,"thumbUrl":28728,"material":808,"size":809,"collection":3244,"collections":28729,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},226071,"the-gadren-at-giverny-1927-mo-nai-226071","The Gadren at Giverny, 1927",[7526,10664,9938,9940,24054,10668,14594,8252,411,7,591,10512,271,5404,69,8253,28725,28726,28727,1191],"红色叶树","黄色花卉","红色花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6889c12a63ee3040e48b55b02b36c8.jpg",[3244],{"id":28731,"slug":28732,"title":28733,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":28734,"thumbUrl":28741,"material":808,"size":809,"collection":3244,"collections":28742,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},226057,"the-church-at-varengeville-against-the-sunlight-1882-mo-nai-226057","The Church at Varengeville, against the Sunlight, 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朱元璋听了这话，立刻止了气语，平静了下来。以后一直很尊敬他、善待他。",[23,24,30,28,118,62,117,7,94,426,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9345d506d0d1b7e6d586a3fc76f70f47.jpg","12.7×17.1cm",[],{"id":28886,"slug":28887,"title":28888,"dynasty":54,"author":110,"museum":111,"description":7236,"tags":28889,"thumbUrl":28890,"material":415,"size":7240,"collection":179,"collections":28891,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},222095,"liang-jiang-ming-sheng-tu-ce-7-shen-zhou-222095","两江名胜图册7",[23,24,25,385,28,118,119,30,62,116,7,117,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92c5733a504a3bb180575dd9ea581efd.jpg",[],{"id":28893,"slug":28894,"title":28895,"dynasty":54,"author":3582,"museum":20,"description":7443,"tags":28896,"thumbUrl":28897,"material":7446,"size":28898,"collection":179,"collections":28899,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},221891,"za-hua-tu-ce-xi-shi-tu-ye-chen-hong-shou-221891","杂画图册-溪石图页",[23,24,25,152,385,28,118,30,63,64,117,61,7,204,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1898512a53945eaeb81e5c56068af5f9.jpg","纵30.2＊横25.1ＣＭ",[],{"id":28901,"slug":28902,"title":28903,"dynasty":133,"author":6001,"museum":20,"description":28904,"tags":28905,"thumbUrl":28906,"material":13293,"size":28907,"collection":179,"collections":28908,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},221821,"ying-shui-lou-tai-tu-ye-xia-yong-221821","映水楼台图页","因元代另一位界画大师王振鹏曾绘过大明宫，在乾隆的题诗中又有“下临无地上凌空，磅礴精神想象中。此日未详平乐馆，早年曾写大明宫”的语句，所以此幅曾被误定为王振鹏所绘。事实上，夏永的画法虽出自王振鹏，但以小幅见长。此图在艺术性上稍逊于王振鹏，但线描的精整工细似尤过之。正如熊之缙《花间笑语》评价他的画作“细若蚊睫，侔于鬼工”。\n《石渠宝笈续编·乾清宫》著录。",[23,24,25,152,385,59,437,114,62,64,63,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9ebc71fe2e34aada53e92454ae807c.jpg","纵23.9厘米，横25.3厘米",[],{"id":28910,"slug":28911,"title":28912,"dynasty":223,"author":1998,"museum":20,"description":11394,"tags":28913,"thumbUrl":28914,"material":78,"size":11397,"collection":179,"collections":28915,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":49},219141,"yang-zhou-si-jing-tu-ping-gang-yan-xue-yuan-yao-219141","扬州四景图-平岗艳雪",[152,24,30,59,28,62,116,63,61,117,7,818,4124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39289767d24a1f12e61192f187a0e686.jpg",[],{"id":28917,"slug":28918,"title":28919,"dynasty":18,"author":434,"museum":167,"description":28920,"tags":28921,"thumbUrl":28923,"material":78,"size":179,"collection":124,"collections":28924,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},218993,"jiang-ji-fan-ying-tu-yi-ming-218993","江矶帆影图","这个构图可能取自李唐《江山小景图》的开篇，其中山和树的笔触比较粗糙，水面没有画出波纹。",[23,24,25,152,114,28,118,30,28922,11667,115,7],"江矶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d811081870c628ebc7c26ba55f12af7.jpg",[124],{"id":28926,"slug":28927,"title":28928,"dynasty":18,"author":28929,"museum":167,"description":28930,"tags":28931,"thumbUrl":28932,"material":78,"size":28933,"collection":124,"collections":28934,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},218875,"shui-cun-qing-xia-tu-ma-kui-218875","水村清夏图","马逵","这幅画描绘了一个水边的渔村，田间的荷叶和丰富的芦苇，人们生活在宁静中，给人一种世外桃源的感觉。",[23,24,114,28,2895,30,138,7,35,500,1390,17860,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e2a199f17dc4e03d73f2a0ef2d0a8c1.jpg","24.5x26.2",[124],{"id":28936,"slug":28937,"title":13299,"dynasty":18,"author":434,"museum":167,"description":28938,"tags":28939,"thumbUrl":28940,"material":78,"size":28941,"collection":124,"collections":28942,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},218721,"xue-shan-xing-lv-tu-yi-ming-218721","这幅画描绘了雪山上的一条小溪，两辆满载货物的牛车涉水而过，车夫以各种方式进行伪装，黄牛的形象也被真实地描绘出来。朱瑞在宋代喜欢画这类题材，这幅山水画比较轻快，类似于太古遗书《江山行旅图》的笔法，可能是金代的作品。",[23,24,25,2895,30,61,205,1080,117,1044,7,35,114,118,7101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bc5c1e8786c6f2560217f0c8669471.jpg","24.4x25.7",[124],{"id":28944,"slug":28945,"title":28946,"dynasty":18,"author":20095,"museum":167,"description":28947,"tags":28948,"thumbUrl":28949,"material":78,"size":179,"collection":179,"collections":28950,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},218675,"xi-hu-shi-jing-tu-qu-yuan-feng-he-ye-xiao-yan-218675","西湖十景图-曲院风荷","淡墨晕染的远山如黛，近岸树影婆娑，隐约可见荷叶田田的清姿，风过处似有暗香浮动。左侧行书笔意流转，与画中墨韵相映成趣，笔墨间尽是西湖夏日的清幽雅致。整幅作品以书画合璧之姿，将曲院风荷的静谧之美悄然铺展，尽显文人笔下的山水意趣与诗意情怀，让人仿佛置身于那片荷风送爽的西湖景致之中。",[23,24,25,385,114,28,120,30,5330,7,500,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f780af223b0e71a7e4d290d27c674c.jpg",[],{"id":28952,"slug":28953,"title":28954,"dynasty":18,"author":20095,"museum":167,"description":28955,"tags":28956,"thumbUrl":28957,"material":140,"size":179,"collection":179,"collections":28958,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},218673,"xi-hu-shi-jing-tu-ping-hu-qiu-yue-ye-xiao-yan-218673","西湖十景图-平湖秋月","秋夜湖光如镜，远山淡笼烟霞，墨色轻染出清寂的秋意。水面无波，似映着朦胧月色，岸边林木疏朗，隐见小舟泊于汀渚。左侧行书笔意婉转，与山水景致相映成趣，诗画交融间，藏着南宋文人的闲淡心境。笔墨简淡却意境悠远，仿佛能触到湖面的微凉，闻见夜露的清芬，将平湖秋月的空灵静谧凝于尺幅。江南水乡的雅致，秋夜湖景的静谧，皆在这一方画卷中缓缓流淌，尽显宋人的审美意趣。",[23,24,25,385,114,28,30,2316,289,7,34,1735,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfb40a0e7d764088ae5815d0d9ce724.jpg",[],{"id":28960,"slug":28961,"title":18634,"dynasty":223,"author":1533,"museum":423,"description":3120,"tags":28962,"thumbUrl":28963,"material":122,"size":179,"collection":179,"collections":28964,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},215022,"fang-gu-shan-shui-ce-8-wang-jian-215022",[24,114,385,958,118,30,7,117,35,32,540,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3e87a735bf5fbbc93441ab92abd2c3.jpg",[],{"id":28966,"slug":28967,"title":28968,"dynasty":223,"author":1533,"museum":423,"description":3120,"tags":28969,"thumbUrl":28970,"material":122,"size":179,"collection":179,"collections":28971,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},215015,"fang-gu-shan-shui-ce-14-wang-jian-215015","仿古山水册-14",[23,24,25,152,385,114,118,30,7,117,63,64,116,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b2efea2262a97f2f0a8dacae0339853.jpg",[],{"id":28973,"slug":28974,"title":28975,"dynasty":223,"author":1533,"museum":423,"description":3120,"tags":28976,"thumbUrl":28977,"material":122,"size":179,"collection":179,"collections":28978,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},215010,"fang-gu-shan-shui-ce-19-wang-jian-215010","仿古山水册-19",[23,24,25,385,114,118,30,7,289,1290,243,345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ef3432372e2458db74ec31875d2652.jpg",[],{"id":28980,"slug":28981,"title":1674,"dynasty":223,"author":8152,"museum":111,"description":8153,"tags":28982,"thumbUrl":28983,"material":122,"size":8156,"collection":179,"collections":28984,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},214699,"shan-shui-ce-9-gao-xiang-214699",[24,25,385,114,30,117,7,1665,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f9b0f937bbabc1b507a243f8e7ec20.jpg",[],{"id":28986,"slug":28987,"title":28988,"dynasty":223,"author":17730,"museum":423,"description":28989,"tags":28990,"thumbUrl":28991,"material":303,"size":179,"collection":179,"collections":28992,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":128},214496,"shui-mo-tu-ce-7-zheng-min-214496","水墨图册-7","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[23,24,114,385,120,119,118,115,30,7,244,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b1bc4021653f8b46f160971f4c0fc4.jpg",[],{"id":28994,"slug":28995,"title":28996,"dynasty":54,"author":11919,"museum":111,"description":28997,"tags":28998,"thumbUrl":28999,"material":179,"size":179,"collection":124,"collections":29000,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":29001},203172,"cang-zhou-tu-yong-ce-wang-wen-203172","沧洲图咏册","画面以水墨写意出沧洲胜境，近岸苍树以浓墨点染，枝干虬劲，叶态生动。水面孤舟一叶，蓑笠之人隐于舟中，似在静赏山水，又若沉思。远景山峦层叠，淡墨勾勒间云雾轻笼，尽显空濛悠远之韵。笔墨简括却意境丰盈，画风清疏雅致，将文人渔隐的闲适心境融入自然，传递出超脱尘俗的逸趣。",[24,114,30,115,462,385,7,118,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cdbe896000679f29a0c7ca0bb835741.jpg",[124],"a69e81",{"id":29003,"slug":29004,"title":29005,"dynasty":21343,"author":29006,"museum":111,"description":29007,"tags":29008,"thumbUrl":29009,"material":179,"size":179,"collection":124,"collections":29010,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":29011},202916,"xiang-jing-tu-zhou-cheng-zhang-202916","乡景图轴","程璋","画面以水墨设色晕染乡村景致，近景茅屋错落，孩童嬉戏、农人劳作，生活气息浓郁；中景树木葱茏，枝干以皴法勾勒，柳叶新绿含烟；远景林峦朦胧，云雾轻笼，层次分明。笔触兼工带写，写实中透着灵动，将乡土的静谧与生机融为一体，尽显田园意趣。",[24,28,61,7,30,29,118,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aba909667618f9dbc3386e0708945c1.jpg",[124],"c3bcb1",{"id":29013,"slug":29014,"title":6479,"dynasty":223,"author":12234,"museum":111,"description":29015,"tags":29016,"thumbUrl":29017,"material":179,"size":179,"collection":124,"collections":29018,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":29019},201973,"shan-shui-tu-zhou-yong-rong-201973","这幅山水图以水墨为基调，笔墨清润雅致。层叠的山石以皴法勾勒纹理，线条劲挺又不失灵动，岩壁间飞瀑垂落，添了几分生机。山脚林木错落，枝叶以淡墨点染，疏密有致；几间屋舍隐于树丛后，若隐若现，更显静谧幽深。整体构图虚实相生，意境悠远，尽显文人山水的淡泊雅致，仿佛让人置身于清幽的山林间，忘却尘嚣。",[24,114,30,118,7,1705,204,117,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2192d62200bae7e87d4518378ae704bf.jpg",[124],"bb9c7a",{"id":29021,"slug":29022,"title":29023,"dynasty":54,"author":6559,"museum":111,"description":29024,"tags":29025,"thumbUrl":29026,"material":179,"size":179,"collection":124,"collections":29027,"showCount":720,"zanCount":48,"manualWeight":48,"mainColor":29028},201574,"shan-ju-chun-yan-tu-zhou-bian-wen-yu-201574","山居春宴图轴","画面以淡墨晕染出春日烟霞，山峦用细腻皴笔勾勒肌理，峰峦错落间云雾缭绕。近景处老干新枝交织，几间茅舍隐于林麓，小桥卧波，流水映带。笔墨疏朗秀逸，意境清幽淡远，似藏文人雅集之趣，尽显山居春日的宁静生机。",[24,30,118,63,64,114,7,23],"https:\u002F\u0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ht":48,"mainColor":128},236067,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236067","此作用浅淡水墨绘就萧疏秋林之景，枯木虬曲错落，枝桠尽露嶙峋之态，策杖幽人行于林麓间，更衬林泉清寂。林畔茅舍隐于林木间，淡墨扫就陂陀山石，温润松秀。远景汀渚远山以轻墨晕染，虚实相生，将荒寒淡远的秋冬平野铺展而出。\n\n用笔松灵雅致，干笔皴擦带出山野质感，留白空灵写意，尽显南宗山水萧散简远的意趣。寥寥笔墨勾勒出林下幽居的清寂况味，以简驭繁、以淡胜浓，将文人寄情林泉的闲远心境融于尺幅之中，是深得仿古山水意韵的雅致小品。",[24,25,385,114,60,118,30,994,500,117,116,64,115,7,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba88997e1c5b5c27221bff52124674f.jpg",[],{"id":29246,"slug":29247,"title":29248,"dynasty":54,"author":28294,"museum":459,"description":29249,"tags":29250,"thumbUrl":29251,"material":179,"size":179,"collection":179,"collections":29252,"showCount":282,"zanCount":928,"manualWeight":48,"mainColor":128},235843,"bei-gu-shan-tu-ye-zhu-lang-235843","北固山图页","此作以秀雅笔触晕染山川形胜，危崖拔地而起，古寺层叠依岩错落，逶迤山道缠绕崖壁，山脚林木蓊然繁茂。远景江天淡远清旷，将京口名山大江之状收揽尺幅。\n\n淡色清润柔和，勾勒皴擦兼具苍浑与秀逸，题诗与山水相映，把“天下第一江山”的壮怀诗意融于画中，既写实摹画出雄踞江岸的山川气势，又带着文人画的淡逸格调，尽展名关古刹的沉郁古意，将山水形胜与家国壮怀悄然合璧。",[24,25,30,28,385,118,62,117,7,153,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4f3307e6d2d133782d3d2478c169b1.jpg",[],{"id":29254,"slug":29255,"title":29256,"dynasty":223,"author":13460,"museum":459,"description":29257,"tags":29258,"thumbUrl":29259,"material":179,"size":179,"collection":179,"collections":29260,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},235815,"bian-di-chun-se-zhou-fu-shan-235815","汴堤春色轴","此作用笔简率纵逸，枯淡萧疏间晕染早春意趣。近岸奇石嶙峋，寒枝虬曲错落，淡彩轻点枝梢，暗透初萌春色；中景水榭孤舟静泊，山寺隐于林间，愈显清寂安闲。远景峰峦以枯笔皴擦，简淡空灵，不着浓墨便将山石苍莽质感晕开。\n\n整幅画作脱略形似，以意驭笔，将早春料峭荒寒里的疏朗生机藏于淡墨轻岚间，借林泉丘壑寄寓幽远襟怀，简而不寡淡而有味，尽显文人画重意趣的特质，藏着画者寄情山水的雅致心性。",[24,202,114,118,30,31,244,579,5815,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba132a5e459634108c4ac7de4013e2e.jpg",[],{"id":29262,"slug":29263,"title":29264,"dynasty":223,"author":2792,"museum":459,"description":29265,"tags":29266,"thumbUrl":29267,"material":179,"size":179,"collection":179,"collections":29268,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},235779,"ming-xian-ji-jin-ce-liu-xi-yan-yu-ye-wang-hui-235779","名贤集锦册-柳溪烟雨页","此作以水墨晕染出江南烟柳水村之境。远山在空濛烟雨间晕化成淡墨虚影，与云天相融，尽显虚灵空寂之态。近岸垂柳成林，浓墨点染枝叶，摇曳生姿，浅墨绘就长堤水渚，疏密有致。水面之上，渔翁独撑小舟悠然泛行，柳荫下木桥横卧，衬出乡野幽寂之趣。画面虚实相生，淡墨写远、浓墨绘近，将烟雨笼罩下的朦胧诗意尽显无遗，笔墨简淡却意韵悠长，藏着寄情林泉、归向野逸的文人雅趣，尽显山水小品的空灵雅致。",[24,25,385,114,30,528,206,6897,37,115,4191,500,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a06f5961504c5c8bb6c4c16bd19efaa.jpg",[],{"id":29270,"slug":29271,"title":29272,"dynasty":223,"author":434,"museum":459,"description":29273,"tags":29274,"thumbUrl":29275,"material":179,"size":179,"collection":179,"collections":29276,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},235667,"yuan-yao-shan-shui-ping-ping-liu-yong-pu-yi-ming-235667","袁耀山水屏-平流湧瀑","此作撷取江南水居之景，远景山峦轻笼烟霭，晕染出空濛悠远之致。山巅双松挺秀如盖，与朱栏山亭相映，山畔飞瀑叠落如碎玉，汇入清溪沿着山涧蜿蜒淌向平湖。\n\n左岸幽轩藏于繁荫翠幄间，与山亭遥遥对坐，凭栏便可尽览天光水色。平湖波平如镜，数艘渔舟静泊水面，将水畔栖居的闲静意趣晕染开来。\n\n画作工写相兼，山石皴擦苍润生姿，林木晕染清润秀雅，设色轻淡柔和，将园林雅致与山水野趣相融，铺展出江南水畔悠然世外的栖居图景，尽显清雅闲逸的诗意氛围。",[152,24,28,118,59,30,62,64,115,116,63,204,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a11aea2d5863fd9ee7ef32eededec.jpg",[],{"id":29278,"slug":29279,"title":29280,"dynasty":223,"author":434,"museum":459,"description":29281,"tags":29282,"thumbUrl":29283,"material":808,"size":809,"collection":179,"collections":29284,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},235655,"gao-jian-jiang-xiang-chu-xia-tu-zhou-yi-ming-235655","高简江乡初夏图轴","此作用青绿晕染山峦，淡赭铺陈水岸云天，冷暖色调交织晕化，铺展出初夏江乡温润朦胧的氛围。近景林木错落疏密，溪涧蜿蜒穿绕石畔，野趣横生。丘峦由近及远逐层淡去，水汽氤氲间与云天相融，留白拓开渺远空阔的江天意境。左上角题诗与画境相映，将江乡初夏的清润闲适尽数铺展，以雅致设色与悠远构图，尽显江南水乡初夏的空濛雅致，是颇具抒情意趣的青绿山水佳作。",[24,25,202,27,28,30,7,32,243,37,3295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108657341743e2d321215d43e24b26e3.jpg",[],{"id":29286,"slug":29287,"title":3724,"dynasty":223,"author":381,"museum":459,"description":29288,"tags":29289,"thumbUrl":29290,"material":179,"size":179,"collection":179,"collections":29291,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},235524,"yuan-ji-shan-shui-tu-ce-shi-tao-235524","枯笔轻勾远景山居，林木萧疏散淡，坡崖以苔点皴擦出苍润质感，留白作溪田野径，将郊野清寂秋意铺展纸上。\n\n整幅画作简净空灵，以少胜多，不着浓墨重彩，却藏丘壑于心间。笔意松秀随性，毫无雕琢痕迹，题款轻附边角，与画面浑然一体，尽显文人山水的静穆禅意。仿佛能听见山风穿林而过，溪田静默无言，将郊野的清幽闲淡与文人情思相融，淡而有味，简而意足，把山水的天然意趣藏于简淡笔墨之中。",[24,25,385,114,118,30,7,116,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a44354a3e42f4bc287386a2df18f00.jpg",[],{"id":29293,"slug":29294,"title":3901,"dynasty":223,"author":4335,"museum":459,"description":22063,"tags":29295,"thumbUrl":29296,"material":808,"size":809,"collection":179,"collections":29297,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},235513,"shan-shui-ce-cha-shi-biao-235513",[24,114,118,385,30,7,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a934a03c24ff9120e13ade44a0cecf.jpg",[],{"id":29299,"slug":29300,"title":29301,"dynasty":223,"author":15721,"museum":459,"description":29302,"tags":29303,"thumbUrl":29304,"material":179,"size":179,"collection":179,"collections":29305,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},235309,"shan-shui-ping-chun-shan-xiao-xiu-tu-wang-yu-235309","山水屏-春山晓秀图","此作用笔恪守正统山水法度，以干笔皴擦结合湿墨晕染，山峦以披麻皴反复积叠，赭石花青轻敷，色调沉静雅致。远景危崖拔地而起，云气萦回山坳，晕出空濛虚灵之意；中景山坞村居错落，茂林环合，溪泉穿谷潺潺有声，尽显山居安谧；近岸老松虬曲苍劲，苔点繁缀尽显古拙生机。\n\n整卷虚实相生，既铺陈出山川雄浑厚重的体量感，又揉入春日烟岚的清润秀雅，将林泉雅趣与江南春山的明秀融于一处，尽显静穆淡远的文人山水意境。",[24,30,202,28,118,341,342,540,62,244,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff592334970ffc38183d50b48aab8d876.jpg",[],{"id":29307,"slug":29308,"title":3901,"dynasty":223,"author":9866,"museum":459,"description":29309,"tags":29310,"thumbUrl":29311,"material":179,"size":179,"collection":179,"collections":29312,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},235169,"shan-shui-ce-zhu-da-235169","此作用笔枯淡极简，以寥寥勾勒写尽荒江之景。虬曲老树疏立崖头，枝桠奇崛如铁，不见繁叶，只剩萧索寒意。水岸坡陀以淡墨轻扫，虚实相生，将江天寥廓尽数铺展。屋舍低伏于洲渚，隐于林木之间，不见人烟，愈衬出天地空寂。\n\n全画以留白代水色，淡墨晕染出烟雨空濛，笔意简净而韵致悠长。清冷孤高的画面里，尽是疏离淡远的况味，沉郁心绪藏在淡墨山水之中，于简淡里见苍茫，枯寂中藏深情，尽显空灵冷逸的禅意。",[24,25,385,114,30,7,35,153,118,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0db70a569f8b7b2ce062c1b51db4390.jpg",[],{"id":29314,"slug":29315,"title":3724,"dynasty":223,"author":381,"museum":20,"description":11258,"tags":29316,"thumbUrl":29317,"material":15512,"size":2092,"collection":179,"collections":29318,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},235007,"yuan-ji-shan-shui-tu-ce-shi-tao-235007",[24,114,28,118,119,153,30,117,7,540,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f95e070eb30a633e86a181baaa50863.jpg",[],{"id":29320,"slug":29321,"title":26303,"dynasty":54,"author":29322,"museum":459,"description":29323,"tags":29324,"thumbUrl":29325,"material":808,"size":809,"collection":179,"collections":29326,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},234832,"shan-shui-shan-wei-zhi-ke-234832","魏之克","魏之克（明），后名克，字和叔，上元（今南京）人。之璜弟，与兄卖画为生。工诗，善山水追宗宋元，得其兄法。兼作工装。笔法秀美，姿颜软媚，有不胜罗绮之态。",[2895,24,114,30,62,115,117,7,119,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57589074d4997912e0900d20e4b199ca.jpg",[],{"id":29328,"slug":29329,"title":29330,"dynasty":54,"author":4131,"museum":20,"description":11458,"tags":29331,"thumbUrl":29332,"material":1218,"size":11461,"collection":179,"collections":29333,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},234808,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-zhang-zhou-yuan-tu-ye-wen-jia-234808","吴门诸家寿袁方斋三绝册-长洲苑图页",[24,25,385,28,30,7,32,500,3601,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a520d1397b390fe6e861f5cfb2c669.jpg",[],{"id":29335,"slug":29336,"title":29337,"dynasty":54,"author":8650,"museum":459,"description":25499,"tags":29338,"thumbUrl":29339,"material":179,"size":179,"collection":179,"collections":29340,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},234633,"fang-wang-shu-ming-qiu-jiang-shi-si-shan-ye-lan-ying-234633","仿王叔明秋江诗思扇页",[2895,114,28,118,30,115,7,1313,4848,117,2869,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b9e0bcf75000775f2e827ede181c39.jpg",[],{"id":29342,"slug":29343,"title":28399,"dynasty":223,"author":29344,"museum":459,"description":29345,"tags":29346,"thumbUrl":29347,"material":179,"size":179,"collection":179,"collections":29348,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},234611,"shan-shui-wan-shan-zhang-zhi-wan-234611","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[24,2895,28,30,118,116,7,500,342,5146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246c0a28a14775872551e950cec067a7.jpg",[],{"id":29350,"slug":29351,"title":28399,"dynasty":223,"author":29344,"museum":459,"description":29345,"tags":29352,"thumbUrl":29353,"material":179,"size":179,"collection":179,"collections":29354,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},234607,"shan-shui-wan-shan-zhang-zhi-wan-234607",[24,25,2895,114,118,30,117,7,35,243,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae5a3cdcc988cabf533cc71a232dc36d.jpg",[],{"id":29356,"slug":29357,"title":29358,"dynasty":223,"author":1310,"museum":20,"description":29359,"tags":29360,"thumbUrl":29361,"material":179,"size":179,"collection":179,"collections":29362,"showCount":282,"zanCount":928,"manualWeight":48,"mainColor":128},234574,"fang-li-ying-qiu-shan-shui-shan-tang-dai-234574","仿李营丘山水扇","清代画家唐岱, 字毓东，号静岩，又号知生、爱庐、默庄。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。唐岱山水画初从焦秉贞",[152,24,25,2895,114,28,30,117,7,35,500,60,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca811aeb6574f8f643210f11bbff932.jpg",[],{"id":29364,"slug":29365,"title":26303,"dynasty":54,"author":24574,"museum":459,"description":29366,"tags":29367,"thumbUrl":29368,"material":179,"size":179,"collection":179,"collections":29369,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},234564,"shan-shui-shan-wei-zhi-huang-234564","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,2895,114,28,30,117,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5c9eb54dfc09b3d2f3f6285bea6d59.jpg",[],{"id":29371,"slug":29372,"title":20917,"dynasty":54,"author":29373,"museum":459,"description":24592,"tags":29374,"thumbUrl":29375,"material":179,"size":179,"collection":179,"collections":29376,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},234490,"shan-shui-shan-ye-yin-shi-234490","殷諟",[2895,24,25,114,118,30,117,7,204,64,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84869b58427aca239d1b651bb8eab1ba.jpg",[],{"id":29378,"slug":29379,"title":29380,"dynasty":223,"author":434,"museum":459,"description":6589,"tags":29381,"thumbUrl":29382,"material":808,"size":809,"collection":179,"collections":29383,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},234430,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234430","清人文殊菩萨像轴",[24,25,202,923,29,28,61,1855,62,30,1856,591,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e4a966fa146ebf05ff32cf4051f1de.jpg",[],{"id":29385,"slug":29386,"title":3901,"dynasty":223,"author":3826,"museum":514,"description":29387,"tags":29388,"thumbUrl":29389,"material":506,"size":29390,"collection":179,"collections":29391,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},234308,"shan-shui-ce-he-yi-234308","赫奕(生卒年不详）清朝画家。一作颐，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正白旗人。官至工部尚书。性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。卒年七十七。清代绘画在当时政治、经济、思想、文化等方面的影响下，呈现出特定的时代风貌。卷轴画延续元、明以来的趋势,文人画风靡,山水画勃兴，水墨写意画法盛行。文人画呈现出崇古和创新两种趋向。在题材内容、思想情趣、笔墨技巧等方面各有不同的追求，并形成纷繁的风格和流派。谈论画理、画法的理论著作，多论述元代以来的文人画,并侧重于山水画,探讨其历史发展及艺术特点。专论画法的许多著作,往往图文并茂,以图谱形式出现。清 赫奕-山水图册现藏于旅顺博物馆。",[24,114,118,385,30,117,7,64,115,116,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec31a4d716636ef879ba0054929c3de.jpg","34.6cmx25cm",[],{"id":29393,"slug":29394,"title":3901,"dynasty":54,"author":29395,"museum":459,"description":29396,"tags":29397,"thumbUrl":29398,"material":179,"size":179,"collection":124,"collections":29399,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},234269,"shan-shui-ce-sun-ri-shao-234269","孙日绍","此册页诗画合璧，右幅以淡墨晕染山水：近岸木桥横卧浅波，汀渚寂然，层叠远山如黛，烟岚轻笼间隐见楼阁，笔墨简淡空灵，晕染出烟雨江天的空濛悠远。左侧书法笔意纵逸跌宕，题诗意境呼应画中丘壑。二者相映成趣，将幽居林泉的闲雅疏旷铺陈开来，以极简笔墨勾勒出悠远山水，寄寓着文人澄怀观道的隐逸襟怀，诗书画相融相生，晕开恬淡雅致的古典意趣，尽显萧散出尘的文人山水情怀。",[23,24,25,385,114,118,120,30,341,342,63,116,7,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fde4ab358a106b7645441ca1c163a4b.jpg",[124],{"id":29401,"slug":29402,"title":29403,"dynasty":223,"author":29404,"museum":20,"description":29405,"tags":29406,"thumbUrl":29407,"material":506,"size":179,"collection":179,"collections":29408,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},234197,"fu-chun-tu-juan-shen-zong-jing-234197","富春图卷","沈宗敬","沈宗敬（1669—1735）《清朝画徵录》作雍正三年（1725）卒，清朝书画家笔录从之。字恪庭、南季，号狮峰、狮峰道人、双鹤老人、双杏草堂主人、卧虚山人等，华亭（今松江属上海市）人，沈荃之子。今依历代画史汇传。",[23,24,26,114,30,118,117,7,204,206,116,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa965d8172e9441cd6e732859da4e7b.jpg",[],{"id":29410,"slug":29411,"title":29412,"dynasty":54,"author":4131,"museum":20,"description":29413,"tags":29414,"thumbUrl":29415,"material":360,"size":29416,"collection":179,"collections":29417,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},234155,"yun-shan-tu-juan-wen-jia-234155","云山图卷","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[23,24,25,26,114,118,120,119,30,9583,37,243,7,2796,35,63,64,115,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":29419,"slug":29420,"title":2781,"dynasty":54,"author":2636,"museum":20,"description":29421,"tags":29422,"thumbUrl":29423,"material":29424,"size":6276,"collection":179,"collections":29425,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},234098,"lan-ting-xiu-xie-tu-wen-zheng-ming-234098","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。",[24,25,26,28,29,120,30,116,61,64,63,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046d4095b1dc977863b6313fbbd424f8.jpg","金笺地，设色",[],{"id":29427,"slug":29428,"title":29429,"dynasty":18,"author":434,"museum":167,"description":29430,"tags":29431,"thumbUrl":29432,"material":7925,"size":29433,"collection":179,"collections":29434,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},234065,"xue-shan-xing-lv-tu-zhou-yi-ming-234065","雪山行旅图轴","寒山雪积，村肆沿溪而设，长桥跨岸，旅人、牛、马络绎於途，木筏顺流结集，一派赶集景致。远景幽壑，楼台掩映，寒鸦成阵，匝绕盤旋，通幅於热闹中不失雪天阴寒之气息。屋宇、舟车、拱桥，俱以界笔出之，线条略呈钉头鼠尾，有别於传统界画。近景人物，五官、表情历历可辨，愈远则愈简，屋宇、林木亦然，深合近大远小之理。",[24,475,202,114,118,1080,205,244,994,1044,64,61,207,7,243,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d1451346fc5558d13e36afaebb3e3b.jpg","纵106厘米，横51.5厘米",[],{"id":29436,"slug":29437,"title":24553,"dynasty":54,"author":11856,"museum":20,"description":29438,"tags":29439,"thumbUrl":29440,"material":12004,"size":29441,"collection":179,"collections":29442,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},234048,"shan-shui-tu-shan-ye-jiang-song-234048","此图是一幅绘其意不绘其形的画作。远景的峰峦岭岫没有被具体地刻画，仅用淡墨晕染山头，勾勒出大体的形貌。中景的平湖静水则不着一笔，完全靠远景的山与近景河岸的夹衬暗示出来。近景枯荣相伴的杂木，以浓淡墨直接点染叶片，运笔洒脱，墨气淋漓。平坡处相向交谈的高士不见眉目的刻画，仅略具形态。简约的构图和概括的表现技法，没有令画作失去画意，蒋嵩巧妙地运用虚实映照、黑白相衬和以简胜繁的艺术手法，吟唱出一曲烟云浩渺、葱郁深秀、意境空旷而不荒凉的山水清音。",[2406,24,2895,114,228,118,30,7,117,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36eab1f04615a6a9540d6367e46439cf.jpg","纵17厘米，横51.2厘米",[],{"id":29444,"slug":29445,"title":23797,"dynasty":223,"author":381,"museum":20,"description":10255,"tags":29446,"thumbUrl":29447,"material":1218,"size":10258,"collection":179,"collections":29448,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},233776,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233776",[24,25,385,28,30,61,35,7,117,881,119,120,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4915b7fd405c9234966f025821e03ed9.jpg",[],{"id":29450,"slug":29451,"title":19280,"dynasty":223,"author":23804,"museum":20,"description":23805,"tags":29452,"thumbUrl":29453,"material":23808,"size":23809,"collection":179,"collections":29454,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},233393,"shan-shui-ren-wu-ce-jin-nong-233393",[24,25,385,114,28,30,37,7,120,153,289,64,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b508b39647df860015e33b12d744377.jpg",[],{"id":29456,"slug":29457,"title":29458,"dynasty":223,"author":9132,"museum":20,"description":29459,"tags":29460,"thumbUrl":29461,"material":179,"size":179,"collection":179,"collections":29462,"showCount":282,"zanCount":928,"manualWeight":48,"mainColor":128},233226,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-gao-cen-233226","金陵诸家山水花卉册-山水页","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,114,118,385,30,117,7,540,204,35,33,500,994,63,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449593877e596f876b9b25838d1ec1e9.jpg",[],{"id":29464,"slug":29465,"title":16816,"dynasty":223,"author":16817,"museum":20,"description":29466,"tags":29467,"thumbUrl":29468,"material":360,"size":29469,"collection":179,"collections":29470,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},233181,"fang-gu-ji-you-tu-ce-huang-yi-233181","黄易（1744—1802年），书画家、篆刻家，字大易，号小松，又号秋庵主，浙江仁和（今杭州）人。监生，官山东兖州府、济宁运河同知。他的绘画笔墨流畅，潇洒隽永，以山水和花卉为题材的作品有着很高的艺术水平。书法则以隶书擅长。作为著名篆刻家丁敬的学生，他经过努力学习与刻苦钻研，并广泛借鉴书法、碑刻中的表现手法，形成了自己工稳生动的篆刻风格，有青出于蓝而胜于蓝之美誉。黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并加以较为全面系统的整理与著录，对我国传统金石学的发展有着积极的意义。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整的记录下来，绘制成许多作品，当时的艺术家们广为称颂。终年59岁。著有《丁黄印谱》、《小蓬莱阁金石文字》等。",[24,25,385,114,118,153,119,120,30,289,116,7,244,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde56bbb5dd5f5082bb9e8e48065c69cc.jpg","纵17.8cm，横50.8cm",[],{"id":29472,"slug":29473,"title":3901,"dynasty":133,"author":5646,"museum":20,"description":28478,"tags":29474,"thumbUrl":29475,"material":1218,"size":28481,"collection":179,"collections":29476,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},233174,"shan-shui-ce-cao-zhi-bai-233174",[24,114,118,385,119,120,30,341,342,7,63,35,244,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36164595fe8368b20261ba6fa14b9e1.jpg",[],{"id":29478,"slug":29479,"title":14224,"dynasty":223,"author":434,"museum":20,"description":29480,"tags":29481,"thumbUrl":29482,"material":360,"size":14230,"collection":179,"collections":29483,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},233096,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233096","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[152,24,25,385,28,29,118,61,90,30,62,7,1420,3315,117,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b021a92da1c0a0009270e048b28a75.jpg",[],{"id":29485,"slug":29486,"title":29487,"dynasty":18,"author":434,"museum":20,"description":29488,"tags":29489,"thumbUrl":29490,"material":7446,"size":29491,"collection":179,"collections":29492,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},233014,"shen-tang-qin-qu-tu-ye-yi-ming-233014","深堂琴趣图页","远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。这在宋诗、宋词和宋画中留有许多经典的范例。如从刘松年的《四景山水图》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。音乐，求其意境，要有共鸣、幽远方妙。《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。庭石上又有青松一株，遥承琴声，而成风如松。环境与音乐布局协和生发，绝无滞碍。主人弹琴，恰好面东，而门对南，空间方位甚为有序。如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。这些看似细微之处，正可见宋人对画中空间风水的深刻认知。画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。",[4253,24,385,28,59,29,30,62,7,70,12511,173,289,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be54f010dc1e0bed94db829cee44280.jpg","纵23.6厘米，横24.9厘米",[],{"id":29494,"slug":29495,"title":29496,"dynasty":3235,"author":29497,"museum":459,"description":29498,"tags":29499,"thumbUrl":29500,"material":179,"size":179,"collection":179,"collections":29501,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},231595,"xiang-jiang-ba-jing-tu-ce-gu-wen-chao-231595","湘江八景图册","谷文晁","潇湘八景，相传为满湘一带的湘江流域八处住胜。为宋沈括《梦溪笔谈·书画》中所描述。历代皆有才子追和。\n潇湘夜雨——永州城东\n湘水在永州境内与潇水汇合以后，称为潇湘。雨落潇湘的夜景，是旧时文人藉以寄情的著名景观。“涔涔湘江树，荒荒楚天路。稳系渡头船，莫教流下去。”（元揭奚斯）凄凉而无助的心境，就像夜雨本自一样哀婉缠绵，千百年来，人们所钟情的不知是山河的夜雨还是心灵的夜雨？\n平沙落雁——衡阳市回雁峰\n潇湘自永州下泻数百公里，到达南岳七十二峰之首的回雁峰。 　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[23,24,25,385,114,28,118,30,61,62,115,64,117,7,500,661,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],{"id":29503,"slug":29504,"title":29505,"dynasty":223,"author":29506,"museum":514,"description":29507,"tags":29508,"thumbUrl":29509,"material":10656,"size":29510,"collection":179,"collections":29511,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},231353,"xi-sai-shan-zhuang-di-er-tu-shen-zong-qian-231353","西塞山庄第二图","沈宗骞","此卷绘西塞山庄之胜景，虽不是张志和诗中之西塞，然长松阔水，溪山静好，亦是人间佳境。此幅全法南宗山水之圭臬，又有黄子久富春山居图笔墨之法，而加“四王”之平实笔意。是沈熙远精心之作。\n沈宗骞（1736—1820）。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》、《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。",[23,24,25,26,114,118,30,7,117,32,37,500,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a52250e5d999c337a4036662e188ac5.jpg","27cmx285cm",[],{"id":29513,"slug":29514,"title":29515,"dynasty":223,"author":29516,"museum":459,"description":29517,"tags":29518,"thumbUrl":29519,"material":179,"size":179,"collection":179,"collections":29520,"showCount":282,"zanCount":928,"manualWeight":48,"mainColor":49},230918,"bi-hu-zhu-shu-tu-shang-guan-zhou-230918","闭户著书图","上官周","此作用高远之法铺展画面，主峰奇崛危耸，皴笔苍劲老辣，勾勒出山岩瘦硬嶙峋的风骨，烟云轻笼山间，衬出幽谷空寂。下方山居隐于松竹之间，堂内文人凭窗凝思，沉心著述，周遭流泉、奇石环合，将幽居雅静之境铺陈开来。\n\n右上角题诗呼应幽隐主题，笔意苍秀兼具，把山林雄浑气象与闭门潜修的文人意趣相融，尽显出世忘俗的林下风流，是文人寄情林泉、醉心笔墨的心境写照。",[23,24,25,202,28,118,30,540,117,204,64,62,1705,61,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687ba4930841677cb3b5816f725bdc2f.jpg",[],{"id":29522,"slug":29523,"title":29524,"dynasty":3235,"author":13866,"museum":459,"description":13867,"tags":29525,"thumbUrl":29526,"material":808,"size":809,"collection":179,"collections":29527,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},230503,"shi-ting-shi-dai-si-ji-shan-shui-tu-qiu-xue-zhou-230503","室町时代 四季山水图（秋）",[23,152,24,202,28,30,62,7,2869,1704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc400973487eafe8b6a86e5eafe93c0.jpg",[],{"id":29529,"slug":29530,"title":29531,"dynasty":3235,"author":434,"museum":459,"description":16988,"tags":29532,"thumbUrl":29537,"material":808,"size":809,"collection":179,"collections":29538,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},230488,"fu-shi-hui-125-yi-ming-230488","浮世绘125",[15217,11574,28,204,7,117,64,61,69,1289,1390,29533,2725,5427,6015,24192,1191,29534,29535,29536],"浴场场景","彩色版画","线条勾勒","色彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb8451450e532362118b932c616a263.jpg",[],{"id":29540,"slug":29541,"title":29542,"dynasty":223,"author":2792,"museum":459,"description":29543,"tags":29544,"thumbUrl":29545,"material":179,"size":179,"collection":179,"collections":29546,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},229013,"lin-dong-bei-yuan-xia-jing-shan-kou-dai-du-tu-wang-hui-229013","临董北苑夏景山口待渡图","此作用平远之法铺陈江南水泽盛景，平缓山峦层层延展，以淡墨披麻皴晕染，满缀苔点，尽显苍润温厚之态。河港萦回，洲渚错落，汀岸间茂林修竹扶苏成林，茅舍隐于林麓，野趣自生。渔舟泛于空蒙烟波，水鸟掠波而过，处处皆是夏日江南的安闲日常。\n\n整幅画作追摹南宗山水的平淡天真，以柔婉的笔调晕开湿润氤氲的夏山氛围，没有奇崛造势，只将江南水乡的沉静清和与田园诗意，融在烟水林峦之间，尽显秀雅浑融的古淡意境。",[23,24,25,26,60,30,7,115,156,639,118,28,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b35e298b8584b4bb63527842380557.jpg",[],{"id":29548,"slug":29549,"title":29550,"dynasty":223,"author":26716,"museum":459,"description":29551,"tags":29552,"thumbUrl":29555,"material":179,"size":179,"collection":179,"collections":29556,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},228936,"jin-jian-shan-shui-si-ping-lu-yuan-228936","金笺山水四屏","平远构图层层铺陈，淡墨晕染的远山衔着隐约山居，渐次拉近，中景茅舍里士人对坐晤谈，小童负物行于林畔，野居意趣悠然尽显。近岸怪石嶙峋，古木虬曲苍劲，红叶枝桠点染出清秋意韵，秋水蜿蜒迂回，澄澈空明。\n笔墨利落，山石以小斧劈皴写就，苍劲硬朗；林木点染兼工带写，意态生动。金笺底色衬得画面古雅温润，整体意境萧疏淡远，将文人寄情林泉、安享幽居的雅怀尽数铺展。",[23,24,25,29553,29554,30,28,118,117,7,35,64],"金笺","四屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee574fd14a42eb307f4d37ff819902cb.jpg",[],{"id":29558,"slug":29559,"title":29560,"dynasty":54,"author":12598,"museum":459,"description":29561,"tags":29562,"thumbUrl":29563,"material":179,"size":179,"collection":179,"collections":29564,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":128},228910,"tian-dou-xiao-ri-tu-ding-yun-peng-228910","天都晓日图","此作全景铺展山岳胜境，远景群峰刺破晓雾，朝日晕染出暖红云色，嶙峋峰峦间银瀑垂落，汇入翻涌云海。中下部以苍劲笔法绘虬松怪石，古松盘曲交错，松针层叠蓊郁，谷中流云如浪，晕出缥缈仙气。溪涧蜿蜒穿林，文士临流闲坐，幽意悠然。\n\n画作工写兼备，设色清雅沉稳，山石勾勒皴擦尽显苍朴质感，云霞以卷云法绘就柔润灵动，既撷取黄山奇崛之态，又融入文人隐逸山居的雅趣，是明代山水画里实景写生与抒情写意相融的精妙之作。",[23,24,202,30,28,29,118,341,204,881,540,206,61,7,37,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a01ea600daad7995372d79e13f6114.jpg",[],{"id":29566,"slug":29567,"title":20557,"dynasty":54,"author":10006,"museum":459,"description":14855,"tags":29568,"thumbUrl":29569,"material":808,"size":809,"collection":179,"collections":29570,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},228899,"shan-shui-tu-shan-mian-qian-gu-228899",[152,24,25,2895,114,28,118,30,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8fe0f246adff8469cb479bfc8b1f0cf.jpg",[],{"id":29572,"slug":29573,"title":29574,"dynasty":54,"author":434,"museum":459,"description":29575,"tags":29576,"thumbUrl":29577,"material":179,"size":179,"collection":179,"collections":29578,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},228782,"fang-dong-yuan-xia-shan-tu-yi-ming-228782","仿董源夏山图","此作以长卷铺展全景江南夏山，烟波平湖与层叠丘壑相映，尽显董源山水平淡天真之致。山峦以披麻皴缓笔写就，层层晕染，尽显丘壑深秀。洲渚间林木扶苏，村舍错落于山麓水滨，渔舟静泊浅滩，处处流露江南水乡的悠然野趣。\n\n用墨温润苍厚，设色古雅沉静，复刻出原作浑厚华滋的质感，将盛夏山林的蓊郁葱茏、水色天光的澹澹交融尽皆铺陈，整体意境清和悠远，带着宋初山水的平和生机，虽为摹古之作，却得江南山水的闲逸真味，尽显文人山水的雅淡风神。",[23,24,25,26,30,60,28,118,243,7,32,8396,63,64,676,156,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17443e12643edb2c4b0c7baa318363d.jpg",[],{"id":29580,"slug":29581,"title":29582,"dynasty":18,"author":434,"museum":459,"description":29583,"tags":29584,"thumbUrl":29585,"material":179,"size":179,"collection":179,"collections":29586,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},227907,"qiu-ting-shui-qin-tu-yi-ming-227907","秋汀水禽图","此作以淡寂秋意为骨，绘汀洲水畔之景。枯槎斜出，疏枝带寒，间有柔柯缀着残叶，与岸侧泛红的小花相映，暗显秋深的枯荣之态。水面空濛留白，漾着浅淡水纹，两只水禽正悠游啄饮，翎羽蓬松宛然，意态闲适。天际一羽孤鹤掠空，枝头还宿着小禽，动静之间，将秋日水汀的清寂悄然铺展。\n\n笔触兼用工写，禽鸟刻画精细入微，草木枝梢写意见韵，以小尺幅晕染出辽远空阔的江天秋意，把幽境雅趣藏于方寸之间，淡而有味，余韵悠长。",[23,152,24,28,29,2998,20221,7,1290,289,156,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35baab3884004df1c48bee2955d8c10.jpg",[],{"id":29588,"slug":29589,"title":29590,"dynasty":18,"author":434,"museum":459,"description":29591,"tags":29592,"thumbUrl":29593,"material":179,"size":179,"collection":179,"collections":29594,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},227894,"hu-ting-you-lan-tu-yi-ming-227894","湖亭游览图","这幅小品以圆框取景，铺展出一片幽寂湖山。澄澈湖面托着水畔亭台，飞檐翘角掩映在葱郁林木间，隐约可见亭边悠游的人影，将游园的闲散意趣藏在细节里。\n\n远山以淡墨晕染，轻笼在如烟暮色中，与近景亭台的精工刻画形成虚实对照，层层晕开江南湖山的清旷含蓄。整体色调古雅沉静，笔意简淡秀润，没有繁复皴擦，却将水色空濛、林影幽深的氛围感烘托尽致，仿佛能窥见千年前的临水凭栏，偷得浮生半日闲的悠然意境，尽显以小见大的雅致情致。",[23,152,24,25,2895,59,29,28,30,11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Field in Giverny 03, 1890 v2",[3239,7526,8242,29625,9798,7,500,5404],"罂粟花田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabce1683b6c405e21bf83d870ccaec23.jpg",[3244],{"id":29629,"slug":29630,"title":29631,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":29632,"thumbUrl":29634,"material":808,"size":809,"collection":3244,"collections":29635,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},225973,"le-pave-de-chailly-1865-mo-nai-225973","Le Pavé de Chailly, 1865",[152,3239,7526,7527,7528,7661,7,411,29633,74,7530,21901,1191],"落叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e64f87bf1a651c620e0cebe294458d.jpg",[3244],{"id":29637,"slug":29638,"title":29639,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":29640,"thumbUrl":29641,"material":808,"size":809,"collection":3244,"collections":29642,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":985},225863,"undergrowth-july-fan-gao-225863","Undergrowth (July - )",[3239,3240,21901,13894,7,271,8253,8254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b663238660a4ed0b834f202f2bce4f9.jpg",[3244],{"id":29644,"slug":29645,"title":29646,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":29647,"thumbUrl":29649,"material":808,"size":809,"collection":3244,"collections":29650,"showCount":282,"zanCount":928,"manualWeight":48,"mainColor":49},225854,"the-vicarage-at-nuenen-september-october-fan-gao-225854","The vicarage at Nuenen (September - October 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【作者】佚名 盘车图—— 轴，绢本设色，纵19厘米，横49.5厘米",[23,152,24,25,202,29,118,114,28,30,62,117,7,61,21527,426,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd204e4e2690ab8ea1c2e1bad1290acde.jpg",[],{"id":29710,"slug":29711,"title":29712,"dynasty":18,"author":434,"museum":978,"description":29713,"tags":29714,"thumbUrl":29715,"material":40,"size":29716,"collection":179,"collections":29717,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},223469,"gui-qu-lai-ci-shu-hua-juan-yi-ming-223469","归去来辞书画卷","此图出自东晋末陶渊明不愿为五斗米折腰，离开宦场而作的抒情小赋《归去来兮辞》。卷首是陶渊明像，后一图一文依次描绘了他辞官后，其归隐的生活情趣和内心轻松愉悦的感受。",[23,24,25,26,28,29,30,61,62,63,64,115,7,116,120,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4c6140c5f57b11d67f190f51d137d6.jpg","30x438.6cm",[],{"id":29719,"slug":29720,"title":29721,"dynasty":18,"author":434,"museum":20,"description":29722,"tags":29723,"thumbUrl":29724,"material":373,"size":29725,"collection":179,"collections":29726,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},223455,"shan-ju-shuo-ting-tu-ye-yi-ming-223455","山居说听图页","亭前溪流湍急，屋内繁茂。 枕上云雾缭绕，山峰若隐若现，附近巨石被茅草覆盖。 颜色素雅朴素，寓意淡雅淡泊。 此页为南宋绘画风格。 山石为“铁包”，周围的李塘被刮削，丛生枝叶坚硬坚硬，与唐帝传世作品无异。",[23,24,25,385,28,30,7,35,117,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d5997a3e43645f9898edc9443b41145.jpg","纵25cm; 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ong-qing-shan-hong-shu-ce-ye-yi-ming-237078","八家山水册-陆鸿青山红树册页","此作设色清隽雅致，以青绿晕染山峦，石骨挺拔皴擦苍劲，淡墨轻烘出流逸云雾，将山林晕染似清虚仙境。山间古木虬曲，丹叶缀枝点醒秋意，蜿蜒山道隐见行人，暗添行旅幽趣。\n\n搭配左侧行书题跋，书画合璧相映成趣。此作取法前人笔意，以写意笔法勾勒山水灵秀，既保有青绿设色的妍丽，又兼具文人山水的简淡幽远，将丘壑林泉间的超然逸趣尽显纸上，观之如临洞天福地，暗合题诗寻仙问道的出世之思，是颇具匠心的仿古佳制。",[24,25,385,28,30,7474,1081,117,7,37,119,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ddc572ceb43430fb17769d86c0bd0fc.jpg",[],{"id":30210,"slug":30211,"title":30212,"dynasty":223,"author":18214,"museum":459,"description":30213,"tags":30214,"thumbUrl":30215,"material":179,"size":179,"collection":179,"collections":30216,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},236952,"ye-xue-wan-shan-lu-hui-236952","夜雪纨扇","此作以淡墨晕染出萧寒雪夜，圆幅间铺展出清旷冬景。远山素雪覆顶，借留白晕染出积雪蓬松质感，隐于烟霭间尽显苍茫空寂。近岸枯木虬曲疏朗，枝桠劲瘦如铁，与远处墨色沉凝的松丛相映，于素净里生出层次变化。浅滩寒水缓流，雪覆岸渚，冷寂里藏着幽微生机。\n\n画家以枯笔写枯枝，淡墨铺雪色，虚实相生间将冬夜山野的静谧冷冽尽数铺陈，搭配题识笔墨，融文思与画意于一体，尽显冲淡安闲的文人意趣，把雪后孤清远寂的冬日意境刻画得淋漓尽致。",[24,2895,28,30,818,994,206,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac96ed8d9a3ac72dd1831b4ba0c9ffa.jpg",[],{"id":30218,"slug":30219,"title":3901,"dynasty":223,"author":647,"museum":459,"description":30220,"tags":30221,"thumbUrl":30222,"material":179,"size":179,"collection":179,"collections":30223,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},236871,"shan-shui-ce-wang-yuan-qi-236871","此作用笔以干笔积墨反复皴擦，山峦层叠浑厚，林木苍郁华滋，将娄东画派的醇正笔墨意趣尽显无遗。画面布局紧凑却层次分明，近涧流泉、中麓丘田与远山茂林依次铺陈，把江南秋山的幽寂之态凝于尺幅。细碎苔点与枯润交织的线条，让山石兼具硬朗质感与温润气韵。边角题字与绘景相映成趣，整体气息苍润高古，将宋元山水的丘林意境融于方寸间，平淡中藏奇崛，枯笔里含秀润，尽显文人山水的沉静雅致，观之如临林泉深处，幽远意绪漫溢而出。",[152,24,25,385,114,118,30,117,7,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce3c9a58d7fa5f1ee501b025c93b95f.jpg",[],{"id":30225,"slug":30226,"title":20917,"dynasty":54,"author":30227,"museum":459,"description":30228,"tags":30229,"thumbUrl":30230,"material":808,"size":809,"collection":179,"collections":30231,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":49},236806,"shan-shui-shan-ye-yang-shi-zhuo-236806","杨时倬","此作用笔苍秀，金笺底色衬出古雅温润。画面开合有度，借扇骨纹理代烟波，留白尽显空灵意境。崖岸林木蓊郁，山居隐于松荫之间，野趣悠然自生；滩头三人凭栏观水，简笔勾勒便衬出雅聚闲情。干笔皴擦晕染山石肌理，墨色浓淡分出阴阳向背，将幽寂林泉与文人情致相融，尽显萧散简远的林下之风。",[2406,2895,24,114,118,30,7,63,64,115,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f1b3f32f06ba3a6e4f5cbb124c596e7.jpg",[],{"id":30233,"slug":30234,"title":3901,"dynasty":54,"author":22864,"museum":459,"description":30235,"tags":30236,"thumbUrl":30237,"material":179,"size":20,"collection":124,"collections":30238,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},236604,"shan-shui-ce-ye-xiang-rong-236604","这幅山水以苍劲皴笔写就崖壁雄姿，浓墨点苔晕染出山石间的苍郁草木，古松虬曲舒展，扎根崖畔。山坳间村居隐于林麓，寥寥数笔便勾勒出幽寂山居之态。\n\n画面虚实相映，高远取景将山野层叠之趣铺展，笔法兼具朴拙与秀润，把林泉隐逸的静穆意趣藏于笔墨之间，尽显雅致出尘的文人山水意境，仿佛将观者带入了幽寂清宁的丘林佳处。",[24,114,118,385,30,243,540,35,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6a8ea47578c4a2045a891560275a1f.jpg",[124,103],{"id":30240,"slug":30241,"title":3901,"dynasty":54,"author":22864,"museum":459,"description":30242,"tags":30243,"thumbUrl":30244,"material":179,"size":20,"collection":124,"collections":30245,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},236601,"shan-shui-ce-ye-xiang-rong-236601","此作以淡逸之笔绘秋江幽境。近岸枯木疏朗，虬枝苍劲间点缀青绿矮松，冷暖相映愈显清寂萧寒。滩渚矶石错落，浅墨晕染出水波微动。扁舟一叶，渔翁独坐垂纶，将幽居野逸的意趣藏于尺幅间。远景山峦以披麻皴轻扫，淡墨晕染空濛烟岚，与近景萧疏呼应，烘托出清远空寂的秋日氛围。笔墨简淡秀雅，以简驭繁，将文人寄情林泉、逍遥尘外的隐逸心境铺陈开来，于方寸间见丘壑，尽显山水小品以景抒情的雅致格调，余韵悠长。",[24,114,2244,30,115,7,64,61,117,500,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17b75686355545bb93c02a07ce8bd9c8.jpg",[124,103],{"id":30247,"slug":30248,"title":3901,"dynasty":54,"author":22864,"museum":459,"description":30249,"tags":30250,"thumbUrl":30251,"material":179,"size":20,"collection":124,"collections":30252,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},236599,"shan-shui-ce-ye-xiang-rong-236599","近岸处，戴笠旅人策杖徐行，似在溪山寻幽。浅溪如镜，白石小桥横卧水面，桥畔古木虬枝舒展，浓荫覆水。\n\n远山轻晕淡染，随溪湾缓缓隐入烟岚，错落水洲间，村舍隐在林麓深处。全作用色清雅柔和，淡赭晕开坡岸山石，以墨点簇染林木，笔法松秀简淡，未作繁复皴擦，便将山野清寂悠然铺陈开来。\n\n行旅野趣与山居安闲相融，将江南溪山的温润恬淡，凝为可游可居的幽境，尽显萧散简远的文人意趣，观之便如沐山涧清风，恍能踏入林泉，静听溪声与林风私语。",[24,25,385,114,28,118,30,63,64,7,117,500,61,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8531cc2a2e32f49f432b51829dc5a9cb.jpg",[124,103],{"id":30254,"slug":30255,"title":30256,"dynasty":223,"author":4335,"museum":459,"description":30257,"tags":30258,"thumbUrl":30259,"material":179,"size":179,"collection":179,"collections":30260,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},236578,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236578","樝梅壑山水十帧","查士标（1615—1698），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。\n查士标用笔以方折线条为主，笔墨疏简的风格中有吴镇的温润、苍茫，又有倪瓒的高逸、舒秀，别具自家风貌。\n这几开山水，群峰起伏，林木葱蘢，山径盘区，溪水横流；高士行吟于林壑之间，屋宇坐落于幽深之地，画面极赋诗情画意，虽 用笔不多，却风神飘散，气韵荒寒，为不可多得的佳品！",[24,25,385,114,30,341,342,7,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cd3f26706df799876961b0f36ef221.jpg",[],{"id":30262,"slug":30263,"title":30264,"dynasty":223,"author":12114,"museum":459,"description":25267,"tags":30265,"thumbUrl":30266,"material":808,"size":809,"collection":179,"collections":30267,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},236551,"xu-gu-qiu-lin-du-tiao-shan-ye-xu-gu-236551","虚谷秋林独眺扇页",[24,25,2895,114,28,30,1158,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc42f5a51347d9182c4cf3497e332fb.jpg",[],{"id":30269,"slug":30270,"title":30271,"dynasty":54,"author":4131,"museum":459,"description":30272,"tags":30273,"thumbUrl":30274,"material":179,"size":179,"collection":179,"collections":30275,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},236410,"xiao-xiang-ba-jing-ce-wen-jia-236410","潇湘八景册","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,114,30,385,118,7,32,115,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305dfb6544d16e40cc8dd1deb269c066.jpg",[],{"id":30277,"slug":30278,"title":30279,"dynasty":54,"author":434,"museum":459,"description":30280,"tags":30281,"thumbUrl":30282,"material":808,"size":809,"collection":179,"collections":30283,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},236396,"huang-wen-li-qiu-shan-ying-yue-shan-yi-ming-236396","黄文立秋山映月扇","此作以淡墨写就秋夜之景，右上虬老树横斜，木叶苍润，墨色浓淡相衬，尽显霜叶萧疏之态。坡石之上，两人对坐晤谈，衣纹简括写意，神态悠然自适。远景以留白衬淡墨晕染，空濛清寂，似见月色铺洒山际。笔墨简澹空灵，以极简的意象烘托出秋山月夜的幽寂清远，将文人雅集的疏闲散淡与秋夜清景相融，尽显文人画尚意境、重笔墨意趣的特质，寥寥数笔间，便将秋宵闲眺的雅致意韵勾勒得淋漓尽致。",[2895,24,114,118,30,61,7,117,2869,2316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dbf6dc93adefae5cfb15088b34fe31e.jpg",[],{"id":30285,"slug":30286,"title":30287,"dynasty":54,"author":30288,"museum":459,"description":30289,"tags":30290,"thumbUrl":30291,"material":808,"size":809,"collection":179,"collections":30292,"showCount":443,"zanCount":928,"manualWeight":48,"mainColor":128},236394,"mao-shan-shang-gong-tu-shan-ye-tang-zhi-qi-236394","茅山上宫图扇页","唐志契","唐志契(xiè)，1579——1651，字敷五，又字玄生、元生，海陵（今江苏泰州）人。精于绘事，著有《绘事微言》。 《书.舜典》：“帝曰：‘契(Xiè)，百姓不亲，五品不逊，汝作司徒，敬敷五教，在宽。’” 《诗.商颂.玄鸟》：“天命玄鸟，降而生商。”《史记.殷本纪》：“殷契(Xiè)，母曰简狄，有娀氏之女，为帝喾次妃。三人行浴，见玄鸟堕其卵，简狄取吞之，因孕生契(Xiè)。”",[2895,24,152,25,114,30,243,1705,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db2960a2de25a616e7f1a70b076637a.jpg",[],{"id":30294,"slug":30295,"title":26303,"dynasty":54,"author":30296,"museum":459,"description":30297,"tags":30298,"thumbUrl":30299,"material":808,"size":809,"collection":179,"collections":30300,"showCount":443,"zanCount":928,"manualWeight":48,"mainColor":128},236365,"shan-shui-shan-wang-sui-236365","王璲","王璲（？-1425），字汝正，以字行，号青城山人，明代遂宁（今四川遂宁）人，著名书法家。永乐（1403-1424）初官翰林检讨，直内阁，仁宗时下狱死，赠太子宾客，谥文靖。工时文，小楷、行书法晋人，皆雄秀。亦能画。",[24,2895,114,118,30,117,7,35,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b83b02098d89180142687163acf38e8.jpg",[],{"id":30302,"slug":30303,"title":20917,"dynasty":54,"author":30304,"museum":459,"description":30305,"tags":30306,"thumbUrl":30307,"material":808,"size":809,"collection":179,"collections":30308,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},236299,"shan-shui-shan-ye-shen-zhao-236299","沈昭","沈昭，[明]字秋萼，长洲（今江苏苏州）人，鼎弟。善山水，所作大劈斧著青绿者尤佳。《画史会要、无声诗史、明画录》。",[2895,114,30,540,117,62,118,28,7,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe20f475312efbe08d55fc6ffa4bae3.jpg",[],{"id":30310,"slug":30311,"title":5608,"dynasty":223,"author":5609,"museum":20,"description":5610,"tags":30312,"thumbUrl":30313,"material":415,"size":5614,"collection":179,"collections":30314,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},236150,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236150",[24,25,385,28,29,61,63,64,7,117,173,70,119,3586],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba5b95d75f318eee31421580362b513.jpg",[],{"id":30316,"slug":30317,"title":30318,"dynasty":223,"author":30319,"museum":459,"description":30320,"tags":30321,"thumbUrl":30323,"material":808,"size":809,"collection":179,"collections":30324,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},236075,"hai-tian-chu-ri-tu-zhou-shen-quan-236075","海天初日图轴","沈全","沈全，江苏人。清末宫廷画家。以写仕女、花鸟著称。主要作品《韬养斋笔记、湖社月刊》。",[152,24,25,202,28,27,30,30322,1288,243,37,62,20767,788,7],"初日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394c68e5371d1d18bade07de8bda33fd.jpg",[],{"id":30326,"slug":30327,"title":3901,"dynasty":223,"author":647,"museum":459,"description":30328,"tags":30329,"thumbUrl":30330,"material":179,"size":179,"collection":179,"collections":30331,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},236048,"shan-shui-ce-wang-yuan-qi-236048","此作用高远、平远之法铺展全景，危崖壁立，山峦层叠，兼具雄奇与秀润。以干笔积墨皴擦山石，笔力苍劲浑厚，披麻皴带着古拙意趣，草木点染清润雅致，笔墨兼具苍浑与秀灵。溪谷水泽蜿蜒环合，村居错落隐于林木扶苏间，林泉幽寂之趣尽显，将山川的沉厚生机与文人隐逸的林泉高致相融，既有宋元山水的古雅气韵，又自出机杼，把山林丘壑的静穆清远和文人画的淡逸情致揉为一体，尽显正统山水的精雅格调。",[152,24,25,385,28,118,30,341,342,63,7,35,117,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398f307ac5b06d1d91c7c226dd735337.jpg",[],{"id":30333,"slug":30334,"title":30335,"dynasty":223,"author":434,"museum":459,"description":30336,"tags":30337,"thumbUrl":30338,"material":179,"size":179,"collection":179,"collections":30339,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},235988,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235988","半山山水人物册","此作用取景偏于一隅，以留白衬出山居空寂清远之境。淡墨晕染崖坡，线条简括勾勒出山棱起伏，浓墨点染林木，苍枝虬曲苍劲，古意盎然。屋舍依山就势隐于林麓之间，藏露相宜，暗合山林幽居的隐逸意趣。\n\n水墨层次清浅柔润，以简驭繁，寥寥数笔便将山野间静穆淡远的栖居之美铺展开来，笔简而意足，尽显文人画简淡悠远的禅意，将林泉高致的雅趣藏于尺幅之间。",[24,25,114,385,30,62,7,117,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074292d24ab8ac03e1959ef1a4e3328a.jpg",[],{"id":30341,"slug":30342,"title":1178,"dynasty":223,"author":647,"museum":459,"description":30343,"tags":30344,"thumbUrl":30345,"material":179,"size":179,"collection":179,"collections":30346,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},235877,"shan-shui-zhou-wang-yuan-qi-235877","此作用笔苍劲老辣，以干笔反复皴擦堆叠，追踵元人笔意，山峦层叠错落，龙脉绵连，兼具高远、深远之致。丘壑间林木苍郁，溪湾萦回，山居亭台掩映其间，氤氲出萧散淡远的幽居意趣。\n\n墨色干湿浓淡相间，于浑厚华滋中见松秀清润，尽显沉雄苍莽的山水气象。右上角题诗与绘境呼应，诗画相融，更添文人雅韵，将山林静穆之美与笔墨意趣合而为一，尽显静雅高逸的文人画格。",[24,25,202,114,118,30,7,117,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadc04a3c59c5ca62697b560597d2092e.jpg",[],{"id":30348,"slug":30349,"title":30350,"dynasty":54,"author":15331,"museum":459,"description":30351,"tags":30352,"thumbUrl":30353,"material":179,"size":179,"collection":179,"collections":30354,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},235556,"xian-ren-cun-wu-tu-zhou-yang-wen-cong-235556","仙人村坞图轴","《杨文骢仙人村坞图轴》是明代的图轴。\n图绘深山幽居之景，危峰断崖，坡岸嘉木，江边亭轩，水泊空旷，远渚几处，高士面江而坐，若有所思。\n此作主要用干笔淡墨，山石轮廓以清劲之笔勾轮廓，树石主体以干笔多次皴擦，奠定了全幅清逸幽远的基调。\n右上的题诗与本幅的“L”形构图呼应，秀逸的书法与画作巧妙地融为一体。\n此作意境超尘绝俗，笔墨隽秀高雅，无怪乎董其昌评其山水曰：“有宋人之骨力去其结，有元人之风雅去其佻。\n” 作者自识：“仙人村坞锦为屏，鸡犬云中户自扃。\n烟火红尘俱不恙，长斋绣佛礼黄庭。\n壬午春仲画于瓯江之轻顺阁中。\n杨文骢。\n”钤“杨文骢印”朱文印、“龙友”朱文印。\n另有“希逸”白文等鉴藏印4方。",[24,25,202,114,118,30,7,244,1546,1289,500,2808,1665,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cdf7dbe1e608a56e3d63f8d477849a.jpg",[],{"id":30356,"slug":30357,"title":3901,"dynasty":223,"author":3775,"museum":20,"description":28360,"tags":30358,"thumbUrl":30359,"material":936,"size":28363,"collection":179,"collections":30360,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},235025,"shan-shui-ce-wu-li-235025",[152,24,25,385,114,28,30,31,7,115,37,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4512c003399075cc8ca9078c54db47a0.jpg",[],{"id":30362,"slug":30363,"title":3901,"dynasty":223,"author":3775,"museum":20,"description":28360,"tags":30364,"thumbUrl":30365,"material":936,"size":28363,"collection":179,"collections":30366,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},235018,"shan-shui-ce-wu-li-235018",[24,25,385,114,118,30,63,64,7,117,204,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497d85d651bdc314e42e380565f3109.jpg",[],{"id":30368,"slug":30369,"title":30370,"dynasty":223,"author":1454,"museum":20,"description":30371,"tags":30372,"thumbUrl":30373,"material":373,"size":30374,"collection":179,"collections":30375,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},234921,"xue-jing-gu-shi-ce-sun-hu-234921","雪景故事册","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[24,25,385,28,29,818,30,62,35,117,7,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2ba6b5b5d446cd11a4073a42a45b840.jpg","纵31．5厘米 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清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,25,26,28,29,59,923,119,3586,120,61,62,63,64,90,1855,30,116,156,7,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":30539,"slug":30540,"title":4448,"dynasty":223,"author":22445,"museum":459,"description":30541,"tags":30542,"thumbUrl":30543,"material":179,"size":179,"collection":179,"collections":30544,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":49},231044,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-231044","此作用笔疏朗秀逸，以高耸奇崛的主峰撑起画面骨架，淡墨勾勒皴擦山石，浓墨苔点醒置其间，尽显苍古浑厚。近岸虬松杂木盘曲苍劲，枝叶俯仰生姿。水畔茅庐之内，二人对坐清谈，衬出幽居林下的雅逸闲情。\n\n画作取法董源平淡天真之韵，又自出机杼，淡墨晕染出空濛烟岚，将江南山水温润静穆之致与文人萧散襟怀相融，简淡之中见苍茫气象，尽显晚明文人画简远疏旷的审美意趣。",[23,24,25,152,202,114,118,60,30,540,117,35,7,61,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35687a3671f968ebd0831c6a02b9d7bd.jpg",[],{"id":30546,"slug":30547,"title":30548,"dynasty":223,"author":2792,"museum":459,"description":30549,"tags":30550,"thumbUrl":30551,"material":179,"size":179,"collection":179,"collections":30552,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":1138},231000,"fang-dong-bei-yuan-shan-shui-tu-wang-hui-231000","仿董北苑山水图","此作以披麻皴写山峦层叠，淡墨晕染出烟雨空濛的江南氤氲之态，高远与平远景致相融，铺陈出山水的幽深阔远。苍松杂木错落点缀于岩岫间，山脚村居田舍隐现，将烟火气融于林泉丘壑，让幽寂山水多了几分温润生机。\n笔墨苍秀温润，皴擦尽显山石浑厚质感，淡墨轻染晕化出云气浮动的朦胧意境，既保有师法对象的平淡天真，又糅合自身清丽工致的笔意，将江南山水的静穆悠远诠释尽致，氤氲出文人山水独有的雅致闲澹之韵。",[23,24,25,30,114,118,60,31,7,117,37,38,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42c82dcbca07f113bc6bb5f1e5aee9.jpg",[],{"id":30554,"slug":30555,"title":30556,"dynasty":223,"author":17210,"museum":459,"description":30557,"tags":30558,"thumbUrl":30559,"material":179,"size":179,"collection":179,"collections":30560,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},230266,"shan-shui-shi-kai-fang-cong-230266","山水十开","此作用笔苍秀浑朴，以平远章法铺展春日村居意趣。板桥驮着晚归牧歌，柳丝轻笼烟岚，粉桃点破溪山春色，村庐隐在林麓间，尽得幽闲野致。平湖如镜，映出两岸茂林远岫，峰峦以干笔皴擦、墨色晕染出苍润质感，氤氲空濛春气。题诗衬合画中逸趣，将田家闲乐融在烟峦水木间，既有元人山水的萧散简远，又不失院体画的精整秀雅，笔底尽是静穆安闲的山居诗意。",[23,24,25,385,114,28,30,63,64,7,35,117,118,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6404cfc1abce5ce15f489d74346d7ea2.jpg",[],{"id":30562,"slug":30563,"title":30564,"dynasty":223,"author":11241,"museum":459,"description":30565,"tags":30566,"thumbUrl":30567,"material":179,"size":179,"collection":179,"collections":30568,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},230249,"jiu-ru-xian-shou-dong-gao-230249","九如献寿","此作用笔秀雅温润，以淡赭晕染丘坂，浓墨攒簇松针，苍松虬劲盘曲，荫蔽山溪幽径。策杖二人徐行林下，溪石隐现、浅谷逶迤，尽现清秋林壑疏旷之致。\n诗画合璧，借古松岁寒长青喻福寿绵长，将林下雅游闲情与祝寿深意相融。画面无繁饰堆砌，以简淡笔墨铺陈出静穆恬和的意境，在清润的林泉景致里，藏着清和雅致的颂祝之心，是兼具文人情致与吉祥意涵的山水小品。",[24,25,385,28,30,7,61,63,64,117,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96977665cdd169873e9aa287d401457.jpg",[],{"id":30570,"slug":30571,"title":30572,"dynasty":223,"author":30573,"museum":459,"description":30574,"tags":30575,"thumbUrl":30577,"material":179,"size":179,"collection":179,"collections":30578,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},230149,"jiu-ri-xing-an-wen-yan-tu-ye-fang-lin-230149","九日行庵文宴图","叶芳林","这幅雅集图里，茂林修竹、丹木青柯错落铺展，园林雅致悠然。文士或围坐展卷品评，或挥毫泼墨，松下石边二三知己清谈对坐，侍童随侧研墨奉茶，众人情态各别、意态从容。\n\n设色清润秀雅，淡晕花青赭石晕染花木，衣纹线条简净流畅，将文人士大夫秋日宴聚、诗酒流连的闲逸高情细腻铺陈，把文宴间的闲散风雅尽数描摹，尽显旧时文人雅集的悠然意趣。",[23,24,25,152,26,28,29,61,7,1665,1473,16856,30576,1524,274],"椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0249e53ec64a91f819c2127887290d53.jpg",[],{"id":30580,"slug":30581,"title":30582,"dynasty":223,"author":647,"museum":459,"description":30583,"tags":30584,"thumbUrl":30585,"material":179,"size":179,"collection":179,"collections":30586,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},229027,"fang-yun-lin-she-se-shan-shui-tu-wang-yuan-qi-229027","仿云林设色山水图","此作用两段平远取景，铺陈出清寂萧疏的幽淡之境。近岸枯木清劲错落，疏朗有致，茅庐隐于林麓之间，野意悠然。远山以干笔淡墨反复皴擦，将倪云林的冷逸淡远，糅合进苍厚绵密的自家笔意，浅赭轻敷，晕染出古雅柔和的色调。画面留白开阔，引观者目光悠然游弋，尽显空寂淡远的文人意趣。题跋与画面相得益彰，文气雅致，师法元人又自出机杼，是兼具摹古与新意的山水佳构。",[23,152,24,25,202,28,118,30,7,117,35,1390,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb43d7ec43e94f35dfae7914f109d2a6.jpg",[],{"id":30588,"slug":30589,"title":30590,"dynasty":54,"author":434,"museum":459,"description":30591,"tags":30592,"thumbUrl":30593,"material":808,"size":809,"collection":179,"collections":30594,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":49},228416,"fu-hui-dong-quan-tu-yi-ming-228416","赴会东全图","位于法海寺大殿内的壁画 距今已有六百多年",[24,28,29,923,61,30,7,32,881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b687fd5235dc9913210ece4e58eb6fc.jpg",[],{"id":30596,"slug":30597,"title":30598,"dynasty":54,"author":30599,"museum":459,"description":30600,"tags":30601,"thumbUrl":30604,"material":808,"size":809,"collection":179,"collections":30605,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":49},228348,"you-xian-tu-shen-xi-yuan-228348","游仙图","沈希远","山水宗马远，亦善传神。洪武（一三六八-二二九八）中写御容称旨，授中书舍人。",[23,24,25,26,28,29,118,30,61,7,117,63,64,116,502,30602,30603],"树木茂密","山石险峻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68de92a5cd889b76de35179cab49741b.jpg",[],{"id":30607,"slug":30608,"title":29412,"dynasty":133,"author":434,"museum":459,"description":30609,"tags":30610,"thumbUrl":30611,"material":179,"size":179,"collection":179,"collections":30612,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":49},228184,"yun-shan-tu-juan-yi-ming-228184","以水墨晕染铺就江南烟岚，山峦在氤氲雾气中远近层叠，淡墨轻扫出山形轮廓，虚实相生，将天地边界揉作一团朦胧。汀渚林木以浓墨点染，和淡远云山相映成趣，江面一叶江帆轻泛，寥寥数笔便牵起江南秋日的柔婉空濛。\n\n整卷诗画交融，墨色晕开如将秋夜湖山揽入卷中，山岚裹挟水汽漫过纸面，和题跋里的梦中游湖意境呼应，萧散简远的文人意趣尽藏其间。仿佛踏入一场水墨织就的清寂旧梦，伸手便可以触到湿润的山雾，将江南烟水的淡远之美，晕染成挥之不去的朦胧诗意。",[23,152,24,25,26,114,30,37,115,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189cb0b82f453db9f4924ab23b668e3a.jpg",[],{"id":30614,"slug":30615,"title":30616,"dynasty":18,"author":434,"museum":459,"description":30617,"tags":30618,"thumbUrl":30620,"material":179,"size":179,"collection":179,"collections":30621,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},227868,"li-gong-lin-kuan-zui-seng-tu-juan-yi-ming-227868","李公麟款醉僧图卷","此作用笔清劲秀逸，白描绘松阴下醉僧安坐，童子躬身侍弄，二仆携酒趋前，将怀素酣醉欲书的放旷神态暗蕴于简淡画面中，人物情态鲜活宛然。\n卷中题跋络绎，行书大字苍劲疏朗，长卷书法纵逸洒脱，与画作意趣呼应相合，全卷鉴印琳琅，书画合璧，尽显宋人的尚意风雅，笔墨间流转着颠僧醉后挥毫的疏狂意气，把禅意与文人情致融为一体，尽显古雅悠然的旧时艺坛意趣。",[23,152,24,25,26,437,114,61,7,328,688,274,30619,119,120,438,153,695],"僧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683a9ddc056efb94f95ef1ed88605b69.jpg",[],{"id":30623,"slug":30624,"title":17614,"dynasty":18,"author":713,"museum":459,"description":17615,"tags":30625,"thumbUrl":30626,"material":179,"size":179,"collection":179,"collections":30627,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":49},227777,"xie-ke-fang-you-tu-ye-liu-song-nian-227777",[23,24,152,29,28,2244,61,116,1067,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2feaea833fd999eef73aef07b04fbe0.jpg",[],{"id":30629,"slug":30630,"title":30631,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":30632,"thumbUrl":30635,"material":808,"size":809,"collection":3244,"collections":30636,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":49},226137,"train-in-the-countryside-1870-mo-nai-226137","Train in the Countryside, 1870",[3239,7526,10864,411,7,61,30633,8254,30634],"蒸汽火车","光影描绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff666ff1cbb70457d1bf81423a0d2485b.jpg",[3244],{"id":30638,"slug":30639,"title":30640,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":30641,"thumbUrl":30642,"material":808,"size":809,"collection":3244,"collections":30643,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":49},226102,"the-promenade-near-limetz-1887-mo-nai-226102","The Promenade near Limetz, 1887",[3239,7526,3148,3344,7,61,22431,411,5404,8254,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdd46d15796ddf92b12df0284011959.jpg",[3244],{"id":30645,"slug":30646,"title":30647,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":30648,"thumbUrl":30654,"material":808,"size":809,"collection":3244,"collections":30655,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":49},226013,"road-near-giverny-1885-mo-nai-226013","Road near Giverny, 1885",[7526,3239,10665,30649,25801,74,7,3374,411,5404,30650,30651,30652,8640,30653],"色彩明亮","乡村风光","弯曲道路","土坡","远处景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22eb37904a61172dbd792f004d4782bf.jpg",[3244],{"id":30657,"slug":30658,"title":30659,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":30660,"thumbUrl":30663,"material":808,"size":809,"collection":3244,"collections":30664,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":49},225965,"la-grenouille-re-1869-mo-nai-225965","La Grenouillère, 1869",[3239,7526,1290,34,30661,61,7,30662,9085,7530,32,6028,7419,10665],"浮台","遮阳棚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe04e3099fcb04d5276a0722af4553b23.jpg",[3244],{"id":30666,"slug":30667,"title":30668,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":30669,"thumbUrl":30671,"material":808,"size":809,"collection":3244,"collections":30672,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":1138},225952,"ice-floes-on-the-seine-at-bougival-1867-1868-mo-nai-225952","Ice Floes on the Seine at Bougival, 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藏品编号;:724 文物类型:书法、绘画 实际数量:1 质量范围:.1-1 kg 文物级别:一般 文物来源:接受捐赠 完残程度:基本完整 入藏时间:1977-2 具体尺寸(cm):46×29.9",[23,24,25,202,114,28,118,30,341,7,64,116,37,6897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43674fdebc1c117057ada1897856da4b.jpg",[],{"id":30706,"slug":30707,"title":30708,"dynasty":223,"author":647,"museum":459,"description":30709,"tags":30710,"thumbUrl":30718,"material":179,"size":179,"collection":179,"collections":30719,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},224395,"cong-lin-lan-re-wang-yuan-qi-224395","丛林兰若","此作用笔苍润老辣，以干笔积墨皴擦山峦，层岩叠嶂浑厚苍劲。溪涧蜿蜒穿流于蓊郁林木间，山径隐现幽林深处，铺展出清寂悠然的林下胜境。画面氤氲静谧古雅的禅意，将山野林泉的幽旷之美尽数铺陈。\n\n左侧题诗与画作相映成趣，诗画合璧，把山居雅逸的意趣烘托得淋漓尽致，仿若将观者引入这世外林泉，于山光水色里涤荡尘俗之心，尽显文人山水的悠然意境与沉静风骨。",[23,24,25,30,28,118,119,153,7,117,64,243,116,211,206,30711,30712,30713,30714,30715,30716,30717,695],"山峦叠嶂","干笔皴擦","浅绛设色","山石勾勒","树木丛植","溪流蜿蜒","建筑掩映","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5a2de7daf042bb44ee28e52239a0d9.jpg",[],{"id":30721,"slug":30722,"title":9839,"dynasty":223,"author":647,"museum":459,"description":30723,"tags":30724,"thumbUrl":30729,"material":179,"size":179,"collection":179,"collections":30730,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},224385,"fang-da-chi-shan-shui-tu-wang-yuan-qi-224385","此作取法大痴意趣，层峦从侧峰铺陈而下，逶迤溪水穿谷绕石，将山居屋舍、飞泉板桥藏于林壑之间，把江南山林的幽寂野趣铺展纸上。\n以干笔积墨反复皴擦，披麻皴写就山石肌理，墨色干湿浓淡交叠，苍厚生拙间带着萧散淡远的韵致。左上题跋朱印错落排布，文气晕染山水，让笔墨意境与文人意趣相融，整体清旷雅致，尽显山居林泉的静美逸致，师古而不泥古，于笔墨间氤氲出幽远的文人山水情致。",[23,24,152,25,475,114,28,117,64,63,1705,4629,7,30725,118,774,30726,912,30727,30728,153,695],"林壑","干笔积墨","幽寂","清旷雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf015ee390ff81a46e533be58fbb6c.jpg",[],{"id":30732,"slug":30733,"title":30734,"dynasty":223,"author":4307,"museum":459,"description":30735,"tags":30736,"thumbUrl":30737,"material":179,"size":179,"collection":179,"collections":30738,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},224126,"ke-si-xian-shan-lou-ge-tu-qian-long-224126","缂丝仙山楼阁图","《缂丝仙山楼阁图》是清乾隆时期的一幅画。\n此图在本色地上缂织仙山楼阁。\n殿宇亭台之间树木葱郁，小桥流水，彼岸远方有群山及山中楼阁。\n画面布局繁密，境界幽静旷远。\n此作品将缂丝与绘画有机地融合为一体，先缂织后添色。\n缂工主要用平缂织物象的轮廓，间用搭缂、长短戗手法，其上再用各种颜色绘出形象。\n画中的楼阁建筑以界尺画出，山石皴法使用了墨、石绿、赭石色，极似仇英的楼阁界画之风格。\n此缂丝画中楼阁工细，山青树茂，敷色古雅。",[23,24,25,566,28,59,30,62,63,7,488,117,116,64,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53b8e0b7007bdd3d7e820ad8283e1056.jpg",[],{"id":30740,"slug":30741,"title":30742,"dynasty":990,"author":434,"museum":459,"description":28793,"tags":30743,"thumbUrl":30744,"material":808,"size":809,"collection":179,"collections":30745,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":49},223851,"shen-ren-jing-zhi-fu-jian-yi-ming-223851","神人镜之附件",[16055,24,29,28,59,61,62,7,173,70,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b13b4465dc4ad89229bc9e9bb264a4.jpg",[],{"id":30747,"slug":30748,"title":30749,"dynasty":223,"author":434,"museum":459,"description":22504,"tags":30750,"thumbUrl":30751,"material":179,"size":179,"collection":179,"collections":30752,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},223529,"wu-yi-shan-shi-ba-jing-tu-4-yi-ming-223529","武夷山十八景图4",[23,24,25,114,28,118,385,30,117,7,115,32,69,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79a72c1f010c0336116e7055b3e0ee3f.jpg",[],{"id":30754,"slug":30755,"title":30756,"dynasty":223,"author":434,"museum":459,"description":22504,"tags":30757,"thumbUrl":30760,"material":179,"size":179,"collection":179,"collections":30761,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":128},223528,"wu-yi-shan-shi-ba-jing-tu-3-yi-ming-223528","武夷山十八景图3",[23,24,25,385,114,28,118,30,30758,206,115,7,12408,500,1474,35,64,63,674,343,30759,138],"山岩","浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb367d3380d727ec41cc7.jpg",[],{"id":30763,"slug":30764,"title":30765,"dynasty":18,"author":434,"museum":20,"description":30766,"tags":30767,"thumbUrl":30770,"material":40,"size":30771,"collection":179,"collections":30772,"showCount":443,"zanCount":48,"manualWeight":48,"mainColor":49},223501,"yang-liu-xi-tang-tu-ye-yi-ming-223501","杨柳溪堂图页","此幅又名《柳溪春色图》。绘春日江南之景色，远 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子落枰轻响，混着松风秋水潺潺。\n\n绢色沉雅古拙，淡墨晕开烟岚远山，近景林木攒簇，亭台界画工整流利，衬出水色空濛的寥廓。整体简淡清润，将幽居博弈的闲逸散在湖山烟霭间，把文人寄情林泉的雅兴融于尺幅，含蓄晕开林下风流的意趣。",[23,2895,24,59,28,30,116,62,7,20733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3251f1c84d231c541a9afef94df5e1e.jpg",[],{"id":30996,"slug":30997,"title":30998,"dynasty":54,"author":12598,"museum":459,"description":30999,"tags":31000,"thumbUrl":31002,"material":808,"size":809,"collection":179,"collections":31003,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},288042,"qun-xian-du-hai-tu-ye-ding-yun-peng-288042","群仙渡海图页","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[23,24,152,437,114,61,30,5272,31001,4537,156,7,64,6113,153,2244],"渡海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa756fff9ee608aeb8f33911396a94482.jpg",[],{"id":31005,"slug":31006,"title":31007,"dynasty":133,"author":434,"museum":459,"description":18652,"tags":31008,"thumbUrl":31009,"material":808,"size":809,"collection":179,"collections":31010,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},287582,"ming-fei-chu-sai-tu-yi-ming-287582","明妃出塞图",[24,152,202,28,29,61,170,90,30,7,426,1147,153,26140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76fb6880298a3f8f31f8ea0956c72786.jpg",[],{"id":31012,"slug":31013,"title":31014,"dynasty":223,"author":1533,"museum":459,"description":10958,"tags":31015,"thumbUrl":31016,"material":808,"size":809,"collection":179,"collections":31017,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},287438,"fang-zi-jiu-shan-shui-wang-jian-287438","仿子久山水",[23,2895,24,25,30,114,60,118,243,7,35,115,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06055f87cd31c4518322ae50a39d4b51.jpg",[],{"id":31019,"slug":31020,"title":31021,"dynasty":54,"author":955,"museum":459,"description":3846,"tags":31022,"thumbUrl":31023,"material":808,"size":809,"collection":179,"collections":31024,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},283708,"pan-gu-xu-shu-hua-he-bi-juan-dong-qi-chang-283708","盘谷序书画合璧卷",[23,152,24,26,5510,28,30,243,7,1705,16356,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9014f8bc1998914af824e954e462d91d.jpg",[],{"id":31026,"slug":31027,"title":31028,"dynasty":223,"author":434,"museum":459,"description":31029,"tags":31030,"thumbUrl":31034,"material":808,"size":809,"collection":179,"collections":31035,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},272894,"zi-tan-mu-qian-tong-bian-qian-yu-hua-niao-tu-gua-ping-yi-ming-272894","紫檀木嵌铜边嵌玉花鸟图挂屏","浅棕素地衬出雅致底色，虬曲枝干苍劲古拙，翠叶错落舒展，丹红浆果垂坠枝梢，明黄秋菊绽露清妍。两只绶带鸟栖于枝桠，白羽莹润细腻，长尾曳曳生姿，两两相对似在私语，情态娴静悠然。\n\n此作以镶嵌之法施艺，将诸般玉料依形排布，把清秋花鸟的温婉意趣凝于屏间。色泽搭配和谐雅致，工致精巧的匠意里揉合着传统诗意氛围感，将秋日林间的恬淡雅致定格屏中，尽显隽永悠然的东方韵致。",[11234,171,156,9408,7,31031,8941,19141,28795,19140,31032,31033],"红果","镶嵌","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07713eb65bd19c4d53eef472a734338c.jpg",[],{"id":31037,"slug":31038,"title":31039,"dynasty":223,"author":31040,"museum":459,"description":31041,"tags":31042,"thumbUrl":31050,"material":808,"size":809,"collection":179,"collections":31051,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},241390,"xing-kai-shi-er-shou-zhou-chen-yuan-long-241390","行楷诗二首轴","陈元龙","陈元龙（1652—1736）字广陵，号乾斋，浙江海宁人，清朝大臣。康熙二十四年一甲二名进士，授编修，直南书房。五十七年，擢工部尚书。六十年，调礼部。乙丑科会试开始施行殿试十本进呈之制。此前，进士无十本进呈之例，这一科会试总裁官是刑部尚书张士甄，开始以前十本恭呈皇帝钦定。康熙帝拔陆肯堂进士第一人，进士第二人就是陈元龙。",[25,119,31043,153,31044,31045,694,7,880,31046,341,31047,10294,342,881,31048,31049],"行楷","海门","津门","田舍","秋","城","丹丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bcce9a43123efbbaf561503896286f.jpg",[],{"id":31053,"slug":31054,"title":31055,"dynasty":54,"author":434,"museum":459,"description":31056,"tags":31057,"thumbUrl":31058,"material":808,"size":809,"collection":179,"collections":31059,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},239357,"ming-ren-fang-huang-gong-wang-jiu-feng-xue-ji-tu-juan-yi-ming-239357","明人仿黄公望九峰雪霁图卷","此作以水墨晕开雪后丘壑，留白铺陈皑皑雪意，山峦素裹、枯木错落，村居隐于岩畔，萧寒清寂尽现冬日山林的荒寒淡远。长卷书画合璧，题跋行笔苍劲雅致，文辞与山水意趣相融，托寄文人静穆观照的审美本心。\n\n仿作追摹原作的极简萧寒，以淡墨晕染山石肌理，以空为雪，尽显元人山水萧散简远之致，借古抒怀，以笔墨写胸中丘壑，将群峰雪后岑寂空灵的意境复刻淋漓，尽显文人山水的雅逸风神，是一件颇具意韵的仿古佳制。",[23,24,25,26,114,118,60,119,120,153,30,31,747,7,244,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1ba8894fb65bed006c1b198de90cf2.jpg",[],{"id":31061,"slug":31062,"title":31063,"dynasty":223,"author":28400,"museum":459,"description":31064,"tags":31065,"thumbUrl":31066,"material":179,"size":179,"collection":179,"collections":31067,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},239344,"xi-xi-hua-juan-lin-shu-239344","西溪画卷","此作用水墨晕染勾勒全景，层峦叠嶂间林木蓊郁，汀洲水湾蜿蜒萦回，村居茅舍隐于烟霭林麓之间，尽显江南水畔的幽寂野趣。皴擦点染兼具，以苍朴笔墨写尽溪山清旷之致。\n\n卷后长篇行书题跋，笔致沉厚古拙，词句自况寄怀，书画相映成趣，将闲游幽思与林泉归隐的意趣融为一体，尽显文人画诗书画合一的雅致风骨，藏着作者寄情山水的缱绻襟怀。",[23,24,25,26,114,118,29,119,120,153,30,32,7,35,63,66,117,3148,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4075e15f1cdd0703ca33f467c5e4924e.jpg",[],{"id":31069,"slug":31070,"title":29135,"dynasty":54,"author":13169,"museum":459,"description":31071,"tags":31072,"thumbUrl":31073,"material":179,"size":179,"collection":179,"collections":31074,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},239195,"shan-chuan-ming-sheng-ce-song-xu-239195","这幅小品以淡设色铺展临江胜景，浅赭花青晕染远山，柔润山色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:31137,"tags":31138,"thumbUrl":31139,"material":179,"size":179,"collection":179,"collections":31140,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},237705,"shan-shui-hua-guo-ce-xiang-sheng-mo-237705","山水花果册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,25,385,114,118,30,115,579,117,1290,500,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceba27ea2e170a558cca7e82b35d7d02.jpg",[],{"id":31142,"slug":31143,"title":31144,"dynasty":54,"author":31145,"museum":459,"description":31146,"tags":31147,"thumbUrl":31148,"material":808,"size":809,"collection":179,"collections":31149,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},237407,"xi-xiang-ji-tu-shan-ye-xu-shi-xuan-237407","西厢记图扇页","徐士选","山阳人，万历戊午科。",[24,2895,29,28,61,170,7,117,578,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f1be9ec040238119a722cae4fc4ddd.jpg",[],{"id":31151,"slug":31152,"title":31153,"dynasty":54,"author":18271,"museum":459,"description":31154,"tags":31155,"thumbUrl":31156,"material":808,"size":809,"collection":179,"collections":31157,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},237401,"ren-wu-shan-mian-yuan-shang-tong-237401","人物扇面","岁朝，是指一岁之始，此时一元复始，万象更新，历代画家作岁朝图含有元旦开笔、预祝一年万事吉利之意。图绘山村一隅，诸多孩童在院中敲锣、打鼓、放鞭炮，尽情嬉戏玩乐，屋内三位长者同桌对饮，观看儿童嬉耍。树石勾勒填色后皴擦，远山以花青淡淡涂染，笔法稳健苍老，画风质朴古拙。丙申为清顺治十三年（1656年），袁尚统时年87岁。",[2895,114,61,30,528,328,1290,228,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c842323a65a9c09b0ef7f45ca83926.jpg",[],{"id":31159,"slug":31160,"title":24553,"dynasty":54,"author":20859,"museum":459,"description":31161,"tags":31162,"thumbUrl":31163,"material":808,"size":809,"collection":179,"collections":31164,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},237218,"shan-shui-tu-shan-ye-zhang-rui-tu-237218","张瑞图（1570年-1644年），字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人、平等居士等；汉族，明代画家，晋江二十七都下行乡（福建省晋江市青阳下行乡）人。\n万历三十五年进士第三名，探花，授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。\n以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生。钟繇、王羲之之外另辟蹊径，明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号。北京大学教授、引碑入草开创者的李志敏评价：“张瑞图之草书，用笔爽利，造型别致，但不耐寻味。”\n擅山水画，效法元代黄公望，苍劲有力，作品传世极希。",[24,25,2895,114,118,30,7,117,116,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e35c039a90965b828f8b628798f1a4.jpg",[],{"id":31166,"slug":31167,"title":31168,"dynasty":223,"author":31169,"museum":459,"description":31170,"tags":31171,"thumbUrl":31172,"material":808,"size":809,"collection":179,"collections":31173,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},237071,"duan-qiao-shu-liu-shan-zhang-wei-237071","断桥疏柳扇","张维","字叔维，号西泠寓客，常熟(今属江苏)人，常居杭州西湖，系张季【1570（隆庆四年）-1610（万历三十八年）】弟。",[24,2895,114,30,63,528,116,61,7,500,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d8a6da14d451afa1a391db975c4c33.jpg",[],{"id":31175,"slug":31176,"title":3901,"dynasty":223,"author":647,"museum":459,"description":31177,"tags":31178,"thumbUrl":31179,"material":179,"size":179,"collection":179,"collections":31180,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},236869,"shan-shui-ce-wang-yuan-qi-236869","此作取法黄鹤山樵春山笔意，层峦叠嶂自右上铺展而下，林木蓊郁错杂于崖谷之间，构图繁密却丝毫不显拥塞。以干笔渴墨反复皴擦积染山石，笔墨厚重苍浑，皴法细密交织，从淡墨晕染到浓墨醒提，层层递进间尽显苍茫秀润。\n\n画作将王蒙的茂密幽深融于生拙厚重的自家风貌之中，咫尺尺幅藏深山幽林的深邃意境，静穆古雅的气息漫溢纸面，尽显师法元人又自出机杼的笔墨功力，是极具文人意趣的正统山水佳制。",[24,25,385,114,118,30,117,7,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb666efba9e02d76e4bb57b4d58d65a7.jpg",[],{"id":31182,"slug":31183,"title":3901,"dynasty":223,"author":647,"museum":459,"description":31184,"tags":31185,"thumbUrl":31186,"material":179,"size":179,"collection":179,"collections":31187,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},236866,"shan-shui-ce-wang-yuan-qi-236866","此帧以淡墨起笔，层层积染皴擦。近渚佳木疏朗挺秀，坡石间细流萦回；中峦云气轻笼，林麓错落藏幽；远峰浑厚朴拙，隐现烟岚之中。以干笔积墨追摹巨然笔意，苔点错落缀于峰峦林梢，墨色由浅及深，反复皴擦间尽显苍润沉雄。既复刻出江南山水的平淡天真，又以自家沉郁的笔墨个性，晕染出静穆悠深的文人逸韵，将古雅的南宗山水意趣，藏进层叠丘壑之间，尽显师法古人而自出机杼的笔墨功力。",[24,25,385,114,30,117,7,1067,118,60,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed35309f91b562ef90167795d98467a8.jpg",[],{"id":31189,"slug":31190,"title":3901,"dynasty":223,"author":647,"museum":459,"description":31191,"tags":31192,"thumbUrl":31193,"material":179,"size":179,"collection":179,"collections":31194,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},236865,"shan-shui-ce-wang-yuan-qi-236865","此作以干笔皴擦，淡墨晕染，铺展江南幽寂丘壑。近滩苇草丛生，茅庐傍树而栖，溪谷穿林而过，将山林层次次第铺陈，远山以淡墨轻笼，浑朴苍润。\n笔墨追踵元人，笔力苍劲内敛，墨色干湿浓淡相济，层层积染间尽显山川浑厚华滋。右上角题识与画面相映，文气盎然，将静穆淡远的山水意趣融于方寸册页，尽显正统山水画的雅逸格调，于细微尺幅间写尽胸中丘壑，藏纳文人画的沉静襟怀。",[24,25,385,114,118,30,7,117,64,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48af61fb62a3016e581cf57022cb0fda.jpg",[],{"id":31196,"slug":31197,"title":3901,"dynasty":223,"author":647,"museum":459,"description":15489,"tags":31198,"thumbUrl":31199,"material":808,"size":809,"collection":179,"collections":31200,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},236861,"shan-shui-ce-wang-yuan-qi-236861",[24,25,385,114,28,30,118,7,117,206,63,676,156,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9941d5d26c596ea3953f0b0f34a6302f.jpg",[],{"id":31202,"slug":31203,"title":26303,"dynasty":223,"author":472,"museum":459,"description":12645,"tags":31204,"thumbUrl":31205,"material":808,"size":809,"collection":179,"collections":31206,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},236815,"shan-shui-shan-wang-shi-min-236815",[223,24,2895,114,118,30,7,117,500,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cbf9df04594e7bef96bfd038b5c46a7.jpg",[],{"id":31208,"slug":31209,"title":31210,"dynasty":223,"author":21476,"museum":20,"description":31211,"tags":31212,"thumbUrl":31213,"material":179,"size":179,"collection":179,"collections":31214,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},236652,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236652","查士标书法题汪之瑞山水册","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。\n查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,25,385,114,120,30,117,7,153,118,119,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eecc2f67a5185582e004eb2e8907616.jpg",[],{"id":31216,"slug":31217,"title":3901,"dynasty":54,"author":22864,"museum":459,"description":31218,"tags":31219,"thumbUrl":31220,"material":179,"size":20,"collection":124,"collections":31221,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},236605,"shan-shui-ce-ye-xiang-rong-236605","此作以半边构图铺陈冬日山居，山石以枯淡笔墨勾勒皴擦，留白晕染出覆雪寒山的清冽质感。几株老松虬枝斜出，残叶萧疏，衬出山野冬意沉寂。山谷间屋舍俨然，隐于林泉褶皱里，烟火气融于萧寒山色，静穆闲雅。左侧留白空灵疏阔，与右侧实景虚实相生，将冬日山野的幽冷清寂与山居的安和静逸相融，笔墨简淡秀润，淡墨轻岚里晕染出文人寄情林泉的澹远襟怀，尽显冬日山林萧疏淡远的意境。",[152,24,25,385,28,118,30,243,117,35,7,994,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8b92f9e4c64968e485897bfde74259.jpg",[124,103],{"id":31223,"slug":31224,"title":31225,"dynasty":223,"author":31226,"museum":459,"description":31227,"tags":31228,"thumbUrl":31229,"material":179,"size":179,"collection":124,"collections":31230,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},236507,"sun-shan-shui-ce-wang-ji-236507","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[152,24,25,385,114,28,30,341,342,7,35,289,500,37,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c33fe3c63a07639da94923c962c0cc.jpg",[124,45],{"id":31232,"slug":31233,"title":31234,"dynasty":223,"author":4524,"museum":459,"description":31235,"tags":31236,"thumbUrl":31237,"material":179,"size":179,"collection":331,"collections":31238,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},236199,"hua-shan-shui-wang-ji-hua-shu-xiao-qing-fan-zhou-xi-hu-zuo-shi-cheng-shan-qian-wei-cheng-236199","画山水王际华书晓晴泛舟西湖作诗成扇","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。",[24,25,2895,114,28,30,7,528,540,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a3980daf0eab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苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,25,2895,114,118,30,63,64,761,1067,7,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea2a9b91cd5486fbf9e952241e2334b.jpg",[],{"id":31285,"slug":31286,"title":6479,"dynasty":223,"author":19180,"museum":459,"description":31287,"tags":31288,"thumbUrl":31289,"material":179,"size":179,"collection":179,"collections":31290,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},235555,"shan-shui-tu-zhou-fang-shi-shu-235555","此作用笔苍秀，以干笔皴擦铺陈山峦肌理，淡墨晕染出山岚清润，层层峰岭自远及近次第铺展，留白处云烟萦绕，将高远、平远之境相融，尽显山川浑厚华滋之态。\n\n近取景致生动，溪桥村舍错落林间，田埂蜿蜒、林木扶苏，带着江南乡野的温润烟火，隐见山居幽闲之趣。右上角题诗入画，诗境呼应山色，文气糅合笔情墨韵，将文人耽恋林泉的隐逸襟怀藏入苍林烟霭，清寂淡远，尽显山水间的静穆诗意。",[24,25,202,114,28,30,341,342,7,35,63,1044,343,1474,540,2796,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3983639ac95ee53718e2c68a08aeaa3f.jpg",[],{"id":31292,"slug":31293,"title":31294,"dynasty":54,"author":434,"museum":459,"description":31295,"tags":31296,"thumbUrl":31297,"material":808,"size":809,"collection":179,"collections":31298,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},235529,"lu-zhi-ju-qu-chun-xiao-ye-yi-ming-235529","陆治具区春晓页","此作为金笺扇面淡设色山水，以虚实相生之法铺陈意境。左侧层岩叠嶂，皴笔清刚爽利，山间柳丝拂垂，山居隐于林麓间，晕染出春日融融暖意。右侧则留白写意湖天浩渺，汀渚远岫轻描淡写，漾出水乡春晓空阔清灵的韵致。题识与朱印错落排布，书画印相映成趣，尽得文人山水的简雅逸趣，将江南春晓的温婉诗意凝于尺幅之间，淡冶雅致，尽显悠远超脱的林下之风。",[152,24,25,2895,28,118,30,7,117,116,156,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfe6d46d5f07787ea6aef707f51c64d.jpg",[],{"id":31300,"slug":31301,"title":3724,"dynasty":223,"author":381,"museum":459,"description":31302,"tags":31303,"thumbUrl":31304,"material":179,"size":179,"collection":179,"collections":31305,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},235521,"yuan-ji-shan-shui-tu-ce-shi-tao-235521","此作以水墨晕染江南烟岚之景，右侧林木以湿墨点簇，层叠枝叶浑茫蓊郁，林麓深处隐现屋舍，藏山居野逸之趣。远山以淡墨轻笼，化作烟霭中朦胧黛影，与留白水色融成空濛辽远之境。\n\n左侧题诗与画境呼应，笔墨文心相融，虚实相生间铺展出温润朦胧的山水意致。绘者不拘成法，泼染兼施，以萧散简淡的笔致，将天地清逸灵秀与林下幽居的自在襟怀融为一体，尽显文人山水的雅致逸韵。",[24,25,152,385,114,118,8441,153,30,7,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc13a2871174db5294ca190206f1e548.jpg",[],{"id":31307,"slug":31308,"title":28333,"dynasty":223,"author":1533,"museum":459,"description":10958,"tags":31309,"thumbUrl":31310,"material":808,"size":809,"collection":179,"collections":31311,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},235344,"fang-gu-shu-hua-ce-wang-jian-235344",[24,25,385,28,114,30,63,64,116,7,117,35,119,153,118,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802836747d6adab8d34e77331c97266c.jpg",[],{"id":31313,"slug":31314,"title":28333,"dynasty":223,"author":1533,"museum":459,"description":10958,"tags":31315,"thumbUrl":31316,"material":808,"size":809,"collection":179,"collections":31317,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},235343,"fang-gu-shu-hua-ce-wang-jian-235343",[24,25,385,114,28,30,7,117,35,118,119,25651,502,994],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f6dadcd38fa9e4180ffab56f73e84d.jpg",[],{"id":31319,"slug":31320,"title":28333,"dynasty":223,"author":1533,"museum":459,"description":10958,"tags":31321,"thumbUrl":31322,"material":808,"size":809,"collection":179,"collections":31323,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},235341,"fang-gu-shu-hua-ce-wang-jian-235341",[152,24,25,385,114,30,7,117,118,153,119,502,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6a5ad5c33b451d9f6cc18c8e380981.jpg",[],{"id":31325,"slug":31326,"title":28333,"dynasty":223,"author":1533,"museum":459,"description":10958,"tags":31327,"thumbUrl":31328,"material":808,"size":809,"collection":179,"collections":31329,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},235338,"fang-gu-shu-hua-ce-wang-jian-235338",[24,152,25,385,28,114,118,120,119,30,63,64,579,243,7,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc233811ed793ba119337b4d341e256.jpg",[],{"id":31331,"slug":31332,"title":31333,"dynasty":54,"author":20859,"museum":20,"description":31334,"tags":31335,"thumbUrl":31336,"material":179,"size":179,"collection":179,"collections":31337,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},235014,"le-zhi-lun-gui-qu-lai-ci-shu-hua-ce-zhang-rui-tu-235014","乐志论归去来辞书画册","该书画册为纸本，共11页，书及款7。页，墨笔画4页。\n题签：张二水书画合璧精品，渔隐题签。印文：骏叔。\n绘画部分题识：（一）白毫庵，瑞图作。印文：无画氏。（二）白毫庵，图。印文：张瑞图印。（三）白毫庵，图。印文：瑞图。（四）白毫庵，图。印文：瑞图。每页均有题句，其中两页录《归去来辞》句，其书分别为行书《乐志论》及“果亭山人瑞图”款；行书“归去来辞”。\n该作主要是以元代大画家黄公望的画法画出的，骨格苍劲，点染清逸，用笔颇有灵气，画面上山石、树木、楼阁、村舍皆刻划严谨，画境富于古意。其画皆山水，用笔秀逸，各有意境，颇得生机。\n第一幅绘雾松图，用的都是黄公望画法，第二幅溪桥雾霁图，画树法与王铎相仿，第三幅溪岸图，中锋行笔，超凡脱俗，落墨沉重，凛然生气，第四幅雪山寒松图，以偏锋笔力，劲健横撑，耸肩方折，风骨摇醉，恰似 他的那首诗句的境界：冻泉依细石，晴雪落长松。\n张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。汉族，晋江二十七都霞行乡人（今青阳镇莲屿下行）人。万历三十五年进士第三（探花），授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。擅长行草书，书法奇逸，学钟、王。山水画学黄公望，苍劲有骨。与董其昌、邢侗、米万钟齐名，时称晚明四大家 。",[24,25,385,114,30,116,7,64,118,153,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9175b330d087781e104258966dc8b85d.jpg",[],{"id":31339,"slug":31340,"title":6800,"dynasty":223,"author":2792,"museum":459,"description":12705,"tags":31341,"thumbUrl":31342,"material":808,"size":809,"collection":179,"collections":31343,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},234961,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234961",[24,25,114,118,958,385,30,7,117,63,64,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc97e93ee3df5c5120d255db227d823f.jpg",[],{"id":31345,"slug":31346,"title":20942,"dynasty":223,"author":434,"museum":20,"description":20943,"tags":31347,"thumbUrl":31348,"material":415,"size":7985,"collection":179,"collections":31349,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},234909,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234909",[24,25,385,28,27,118,30,117,7,37,31,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43b62b1e5bd3d7a5f2f180e1ad3242ac.jpg",[],{"id":31351,"slug":31352,"title":17305,"dynasty":223,"author":31353,"museum":459,"description":31354,"tags":31355,"thumbUrl":31356,"material":808,"size":809,"collection":179,"collections":31357,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},234841,"shan-shui-ye-gu-fu-zhen-234841","顾符稹","一作符桢，清代画家。初名稹，字瑟如，后名符稹，字松崖，号小痴，江苏兴化人。能诗、工书、善画，山水、人物远学李昭道，善以勾染作画，近学赵孟頫，以清丽著称。所作笔法工致严谨，细入毫发，树石细笔写生，颇具气势。家贫寒，以卖画自给，故临摹托古者颇多。",[24,114,28,385,118,30,579,63,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeabedbed4db47e76e2c7fe2dd580518.jpg",[],{"id":31359,"slug":31360,"title":28399,"dynasty":223,"author":29344,"museum":459,"description":29345,"tags":31361,"thumbUrl":31362,"material":179,"size":179,"collection":179,"collections":31363,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},234613,"shan-shui-wan-shan-zhang-zhi-wan-234613",[24,25,152,2895,114,118,30,63,64,204,7,244,1067,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a8ec8604d5c6b10775e960b4391e4e.jpg",[],{"id":31365,"slug":31366,"title":31367,"dynasty":54,"author":20212,"museum":459,"description":16872,"tags":31368,"thumbUrl":31369,"material":179,"size":179,"collection":179,"collections":31370,"showCount":454,"zanCount":928,"manualWeight":48,"mainColor":49},234566,"qian-gu-shan-shui-shan-qian-gu-234566","钱榖山水扇",[24,25,2895,114,118,30,63,7,117,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029b8b5681dd97bfa0a51a03620ac928.jpg",[],{"id":31372,"slug":31373,"title":31374,"dynasty":223,"author":2792,"museum":20,"description":31375,"tags":31376,"thumbUrl":31377,"material":8893,"size":31378,"collection":179,"collections":31379,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},234497,"xiu-zhu-you-ting-zhou-wang-hui-234497","修竹幽亭轴","王翚（1632—1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江苏常熟人。清代著名画家，著有《清晖画跋》。其画法精能、风格多样，在清代极负盛名。尝于康熙三十年（1691）奉诏入京主持《康熙南巡图》的绘制，功成后受到皇太子胤礽召见。胤礽绘扇书以“山水清 晖”四字作为褒奖。时人目为画之正宗，尊称“画圣”。他与王时敏、王鉴、王原祁合称“四王”，又与吴历、恽寿平并称“清初六家”或“四王吴恽”。王翚追随者甚众，因常熟有虞山，故后人将他及其弟子一派称为“虞山画派”。\n王翚自幼嗜画，继承家学，很早便表现出非凡的绘画才能，师从王时敏、王鉴后，境界大进。一生画腊极长，精力旺盛，创作巨富。他笔墨功底深厚，长于摹古，几可乱真，又能不囿成法、师法自然。王翚虽然是职业画家，但与文人政要广泛交往，深受“文人画”精神影响，其山水力作往往构图多变、皴擦得法、格调明快，富有写生意趣及抒情性。王翚创作广采博览，集唐宋以来诸家之大成，于临仿中不断取舍，终能熔“南宗”“北宗”画法于一炉。在全面整理山水画传统技法的基础上，形成了具有个人风格的笔墨特点和概括性的构图法则，并提出“以元人笔墨，运宋人丘壑，而泽以唐人气韵”的论画主张，影响深远。但其晚年的程式化风格也颇为后人诟病，并为“虞山画派”后来的发展埋下了隐患。",[24,25,152,202,114,118,30,1067,116,115,117,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc40584b392379435fae2f0f0f1741e.jpg","纵129.5cm，横43.3cm",[],{"id":31381,"slug":31382,"title":31383,"dynasty":223,"author":434,"museum":459,"description":31384,"tags":31385,"thumbUrl":31386,"material":179,"size":179,"collection":179,"collections":31387,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},234485,"qing-jiang-zuo-wen-xin-ji-ce-zou-zhe-shan-shui-ce-ye-yi-ming-234485","清江左文心集册-邹喆山水册页","明末清初，金陵特殊的政治、经济、文化地位，使其集聚了一大批画家，用龚贤的话来说：“今日画家以江南最盛，江南十郡以首郡为盛，郡中著名者且数十辈，但能吮笔者岂止千人？”① 江南的首郡就是金陵。在这些画家中，却单单有八位画家因一个概念而被画史铭记，这就是“金陵八家”。但是，关于“金陵八家”的构成一直为画史争论不休。先后出现了多个版本，这些不同的“金陵八家”组合其实可以分为三类：①为张庚《国朝画征录》中提出的以龚贤为首的“金陵八家”。②为标明是周亮工品题的不包括龚贤，并以陈卓领衔的“金陵八家”，《上元县志》、《新修江宁府志》、《上江两县志》和《金陵通传》这4部南京地方志采用该说。前三书完全相同，而《金陵通传》略有不同，将武丹换成了武弁（很可能是传抄的错误）。《眼福编》的组合虽与张庚之说相似，但将龚贤换成了邹喆的父亲邹典，故将之归到这一类。③为《昆山景物志》，此说也以龚贤为首，大概因为龚贤是昆山人。新入3人：施霖、盛丹、王概。这三类“金陵八家”构成以第一种受到的附合最多。为什么会出现如此多的“金陵八家”说不同版本，“金陵八家”最初由谁品题，为什么会发生变化，其动因又是什么呢？",[24,114,28,118,385,30,117,7,1705,1390,243,501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceffa03dc34c80a37f79d6bb2778e258.jpg",[],{"id":31389,"slug":31390,"title":31391,"dynasty":223,"author":434,"museum":459,"description":17243,"tags":31392,"thumbUrl":31394,"material":808,"size":809,"collection":179,"collections":31395,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},234438,"zhu-tu-ban-tuo-jia-zun-zhe-tang-ka-yi-ming-234438","注荼半托迦尊者唐卡",[31393,565,923,28,29,61,62,64,7,1621,1856,117],"唐卡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25c49ce35e22f869389b92aec6bb4aa.jpg",[],{"id":31397,"slug":31398,"title":31399,"dynasty":54,"author":7255,"museum":20,"description":9025,"tags":31400,"thumbUrl":31401,"material":14200,"size":9028,"collection":179,"collections":31402,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},234042,"huang-you-yue-gong-tu-shan-ye-zhou-chen-234042","皇游月宫图扇页",[2895,28,29,61,2316,7,62,2573],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cee35f63a501f73fa7157c919db32e7.jpg",[],{"id":31404,"slug":31405,"title":6751,"dynasty":990,"author":434,"museum":20,"description":31406,"tags":31407,"thumbUrl":31408,"material":415,"size":31409,"collection":179,"collections":31410,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},234037,"gong-yuan-tu-yi-ming-234037","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网巾水纹，辉煌明丽，富有装饰性。此卷为吴瀛先生于1947年“倾囊得之”，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[24,25,16055,28,59,29,62,399,30,7,70,676,69,4312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656bb14724eeca487c029c4fb834fec9.jpg","纵23.9厘米，横77.2厘米",[],{"id":31412,"slug":31413,"title":23797,"dynasty":223,"author":381,"museum":20,"description":10255,"tags":31414,"thumbUrl":31415,"material":1218,"size":10258,"collection":179,"collections":31416,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},233775,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233775",[24,25,152,2244,114,120,228,61,117,7,4677,25651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59fcd12bb8e349f58148bff1682a02f.jpg",[],{"id":31418,"slug":31419,"title":31420,"dynasty":54,"author":55,"museum":20,"description":733,"tags":31421,"thumbUrl":31422,"material":40,"size":26582,"collection":179,"collections":31423,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":1138},233762,"ren-wu-gu-shi-ce-9-chou-ying-233762","人物故事册9",[152,24,25,385,29,28,30,61,726,90,7,69,153,11296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff150a0f18d24abd56a8a4f1dc7a0f2.jpg",[],{"id":31425,"slug":31426,"title":31427,"dynasty":54,"author":110,"museum":20,"description":15919,"tags":31428,"thumbUrl":31429,"material":15512,"size":15922,"collection":179,"collections":31430,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},233137,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xin-guo-tu-ye-shen-zhou-233137","明人西山胜景合壁册-新郭图页",[24,25,385,114,30,63,64,35,7,120,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f3bdabed4bfe76d9c471868a7a47b2.jpg",[],{"id":31432,"slug":31433,"title":31434,"dynasty":54,"author":9719,"museum":20,"description":15919,"tags":31435,"thumbUrl":31436,"material":15512,"size":15922,"collection":179,"collections":31437,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},233135,"ming-ren-xi-shan-sheng-jing-he-bi-ce-zi-wei-cun-ye-chen-chun-233135","明人西山胜景合壁册-紫薇村页",[24,25,385,114,120,30,62,7,328,1044,2868,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29457c5afef79185ae2c06064d9f37a5.jpg",[],{"id":31439,"slug":31440,"title":31441,"dynasty":3235,"author":434,"museum":459,"description":31442,"tags":31443,"thumbUrl":31444,"material":808,"size":809,"collection":179,"collections":31445,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},231771,"wang-gu-feng-su-hua-hui-juan-er-yi-ming-231771","往古风俗画绘卷二","这幅界画工致清雅，以全景铺陈开古旧坊巷。屋舍排布错落严整，飞甍黛瓦、朱栏庭阶皆勾勒细致，尽显传统营造之美。街巷间人物往来熙攘，或市井贸迁，或闲庭信步，百态日常跃然绢素，将往昔烟火气揉进细腻笔触中。\n\n庭园里点缀枯荣花木，四时意趣藏于巷陌深处，设色柔淡雅致，晕开平和温润的古意，引观者踏入旧时光景，触摸千年前鲜活的人间烟火，静赏古早世风的悠然质感。",[23,24,26,28,29,59,704,61,62,70,35,7,591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1967de1077b0f92bda1d523e3423430.jpg",[],{"id":31447,"slug":31448,"title":31449,"dynasty":3235,"author":31450,"museum":459,"description":31451,"tags":31452,"thumbUrl":31453,"material":808,"size":809,"collection":179,"collections":31454,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},231754,"ming-zhi-nian-chun-mu-you-hua-dong-jing-qian-jing-zhong-231754","明治年春亩油画(东京)","浅井忠","浅井忠，日本画家，1856年6月21日出生于江户（今东京），1907年12月16日卒于京都。",[3239,4311,28,61,5233,5232,7,3295,411,13765,25799],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a866db631edd06bd11d398a0ab2ed2.jpg",[],{"id":31456,"slug":31457,"title":31458,"dynasty":54,"author":8650,"museum":459,"description":31459,"tags":31460,"thumbUrl":31461,"material":8673,"size":31462,"collection":179,"collections":31463,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},231592,"qing-lan-cui-nuan-tu-lan-ying-231592","晴岚翠暖图","蓝瑛（1585-1664），字田叔，号蜨叟，又号东郭老农，晚号石头陀、山公、万篆阿主者、西湖研民，钱塘（今浙江杭州）人，所居榜额曰：“城曲茅堂”。工书擅画，长于山水、花鸟、梅竹，尤以山水著名。其山水初从黄公望入门，遍摹元代诸家笔法，后上窥晋、唐、两宋，俱得古人精蕴。中年自立门庭，涉猎既多，眼界宏远，故落笔纵横奇古。晚年渐趋苍劲疏宕，气象崚嶒，虽力追古法，但能融会贯通，自成风范。其绘画对明末清初绘画影响甚远，被后人称为“武林派”，画史亦称之为“后浙派”。\n此图为蓝瑛先生摹黄公望《晴岚暖翠》所作，上绘峰峦迭翠，银链飞瀑，峭石嵯峨，云雾弥漫。中绘水榭楼台，依山傍水，苍浑郁茂，清泉蜿流，临窗对语，悠然其间。下绘湖水空明，临渚茅亭，古木苍郁，清趣秀逸。纵观此幅，构图奇伟，落笔纵横，顿挫有致。其境高雅飘逸，其意苍劲疏秀。宋元文人之风，悠然可见其中。亦见其运笔得大痴神韵，勾勒浅绛，又参自法，清简秀润，乃为田叔之佳构也。\n一峰老人即元代画家黄公望。黄公望（1269-1354），元代画家。本姓陆，名坚，江浙行省常熟县人。后过继永嘉府（今浙江温州市）平阳县（今划归苍南县）黄氏为子，居虞山（今宜山）小山，因改姓黄，名公望，字子久，号一峰、大痴道人。中年当过中台察院椽吏，后皈依全真教，在江浙一带卖卜。擅画山水，师法董源、巨然，兼修李成法，得赵孟頫指授。所作水墨画笔力老到，简淡深厚。又于水墨之上略施淡赭，世称“浅绛山水”。晚年以草籀笔意入画，气韵雄秀苍茫，与吴镇、倪瓒、王蒙合称“元四家”。擅书能诗，撰有《写山水诀》，为山水画创作经验之谈。存世作品有《富春山居图》、《九峰雪霁图》、《丹崖玉树图》《天池石壁图》等。",[23,24,25,26,30,28,118,29,31,117,7,37,386,761],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51301e878118487eeaa8028a0ad77ec5.jpg","161×42.9cm",[],{"id":31465,"slug":31466,"title":31467,"dynasty":18,"author":2712,"museum":167,"description":31468,"tags":31469,"thumbUrl":31470,"material":140,"size":31471,"collection":179,"collections":31472,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":985},231415,"san-xian-shou-jian-tu-yan-wen-gui-231415","三仙授简图","此图原藏清内府钟粹宫，原图无款印，签题“燕文贵二仙授简图”：图描绘世外洞府一处，洞前为一片宽阔的田野，临近洞处为坡岸，碎石横卧，草木和幽篁相间杂牛-在洞前的左侧有几棵古松，树干粗大，向左倾斜生长，枝干曲直向上，树千长有疤节，茂密的枝叶形成浓荫，将其洞府笼罩，洞府前二仙相对而坐，均为道家装束，正面一位年长者以披叶衣，赤足支膝，绾双丫髻，双日凝神，目光视着前方；正面左侧一位头披长发于背部，赤胸支着右腿，右手放置膝部，正在专心聆听对面一位仙者论经说道；正面右侧一位右腿盘坐、左腿支撑，身披道衣绾双髻，手持简册，上体前倾，右手指划，似在论经说道，神情专注，十分投入。\n燕义贵的绘画题材较为广泛，山水最为突出：他画山水不专师法，自成一家，景致多坐，使人有身临其境的感觉，他是一个来自民间的画家，他熟悉并喜爱乡间生活，即使在布局宏大的11．真水画上，也安排各种富于生活情趣的细节：刘道醇《圣朝名画评》说他“初师河东郝惠”，之后“不师于古人，自成一家，而景物万变……，燕家景致无能及者”：燕文贵除擅长山水外，还精于人物画和界画：此《三仙授简图》是他人物画的代表作。\n此图以幽深静寂的洞府为布景，画家用抑朴的线条显示道衣厚实的质感和盘旋褶皱的衣纹，线描笔法劲练，古松数株，也画得坚劲有力：图中人物面部表情，有声有色，特别是前面左边赤胸者，被对面一位手持简册仙人的话语所吸引，聚精会神地凝听着：画家驾驭人物性格，再现特定情境的功力在这一作品中得到充分的表现，树石皆湿笔，松身之鳞，略圈数笔，即以墨水晕染浅深，上缠古藤，其条下垂，用笔极细，若断若续，总之，全图着色淡雅，勾线坚凝而多折，二位仙人姿态各不相同，并在变化错落中达到和谐统一。",[152,24,25,28,29,118,61,30,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde1e2940ee2ffd9f620cc4bb8d71b99.jpg","46.3×41.3公分",[],{"id":31474,"slug":31475,"title":31476,"dynasty":223,"author":2792,"museum":167,"description":31477,"tags":31478,"thumbUrl":31479,"material":316,"size":31480,"collection":179,"collections":31481,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},231371,"lin-fan-kuan-xue-shan-tu-wang-hui-231371","临范宽雪山图","从构图上看，中景占大部分画面，主峰和侧峰是由许多山体组成，且几乎没有平远。是清初「四王」的风格。\n山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。是王翚的笔墨特点。\n王翚的笔墨特点：构图学习宋人， 运笔学习元人。由于师承古人学习各类画家笔墨技巧多样化，用笔极灵活。\n早年时期工整俊秀，尖笔，细笔较多。因为学习黄公望，构图上较沉闷。中年以后，在王时敏处遍临古画，技艺集各家技法突飞猛进。将李成，吴镇等的树法，王蒙，黄公望等的皴法交替使用，变化多且运用恰当。繁密精致，峭拔挺秀，渲染皴笔配合恰当。也可以说他是集大成。\n同为「四王」中的王原祁曾评论王翚技巧过熟。因为笔法变化太多，画面缺少统一感。构图繁复，墨色也会缺少变化。",[152,24,25,60,118,114,28,30,1080,117,7,69,818,994,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","187.7x115.5厘米",[],{"id":31483,"slug":31484,"title":19412,"dynasty":223,"author":19189,"museum":459,"description":31485,"tags":31486,"thumbUrl":31488,"material":179,"size":179,"collection":179,"collections":31489,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},231045,"shen-zhu-you-ju-tu-cheng-sui-231045","以渴笔焦墨写就全篇，山峦以短皴密点层叠铺展，带着金石篆刻般的苍茫朴拙质感，苍郁厚重间尽显山野沉浑气象。\n\n溪湾错落，板桥连通山居，幽篁掩映着矮屋茅舍，暗涌村居烟火暖意。水面扁舟随波轻漾，滩头幽人独立凭眺，将林泉高致与乡野闲趣揉为一体。\n\n全作未施丹青，仅以枯涩墨色分出远近层次，简淡萧疏间烘托出荒寒静谧的幽居氛围，把文人遁世丘园的雅逸襟怀，藏在每一处皴擦点染之中。",[23,24,114,118,202,30,1665,35,63,64,115,117,7,502,31487],"渴墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04295a7113b02787af3ec000e8944c9e.jpg",[],{"id":31491,"slug":31492,"title":954,"dynasty":223,"author":31493,"museum":459,"description":31494,"tags":31495,"thumbUrl":31496,"material":179,"size":179,"collection":179,"collections":31497,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},230914,"fang-gu-shan-shui-tu-cheng-geng-lu-230914","程庚鹭","此作用淡墨晕染山峦，留白铺陈出空濛水汽，层叠峰峦尽显高远之致，干笔皴擦勾勒山石肌理，湿墨晕染晕出山岚氤氲。崖间村居错落，石阶蜿蜒通幽，点染出林下幽居的闲淡意趣。\n右上角题跋笔墨隽秀，与山水笔墨相映成趣，诗画交融。整体兼具萧散简远的文人意韵，将林泉高致寄于尺幅，观之如临空山幽境，俗虑尽销。",[24,114,118,958,30,341,342,204,7,117,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb8830d376ba0de9a0803b19592cb0df.jpg",[],{"id":31499,"slug":31500,"title":31501,"dynasty":3235,"author":434,"museum":459,"description":31502,"tags":31503,"thumbUrl":31504,"material":808,"size":809,"collection":179,"collections":31505,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},230550,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-2-yi-ming-230550","明清古画动物山水粉本图卷-2","以淡设色铺陈林泉雅境，枯梅虬枝缀着寒花，古拙清癯。坡石间流泉蜿蜒，晕染出空山幽寂的氛围。两位高士策杖缓行，衣袂轻扬，神态悠然，似正寻幽揽胜。\n笔墨清劲秀逸，山石以淡墨皴擦，晕出空濛温润的山林气韵，草木敷色清雅，粉白梅花点活了冬末春初的清灵意趣。将林下高致融于山水小景，淡而有味，简中见雅，尽显文人寄情林泉、避世寻幽的隐逸意趣。",[23,24,26,28,114,29,118,30,61,4567,117,7,1067,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c4df883e88673fe6cdff89b7a09a8c.jpg",[],{"id":31507,"slug":31508,"title":31509,"dynasty":3235,"author":13866,"museum":459,"description":13867,"tags":31510,"thumbUrl":31511,"material":808,"size":809,"collection":179,"collections":31512,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 四季山水图（春）",[23,24,25,152,202,118,114,28,30,341,1472,244,69,500,2695,502,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":31514,"slug":31515,"title":31516,"dynasty":3235,"author":29887,"museum":459,"description":31517,"tags":31518,"thumbUrl":31519,"material":179,"size":179,"collection":179,"collections":31520,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},230486,"zu-shi-tu-shou-ye-yuan-xin-230486","祖师图","画面以飞瀑奇峰开篇，峭壁间白练倾泻而下，撞破山岩的沉凝厚重。古松虬枝横斜，苍劲盘曲，将山野荒古之气铺展开来。雾霭轻笼林谷，柔化了山石棱角，让刚硬的笔墨晕出幽柔的空濛。\n\n拄杖祖师衣袂飘然，独立山巅凝神静望，身影与林泉相融，禅意随云气漫溢。山石以利落斧劈皴勾勒，苍劲老辣，云雾则以淡墨晕染，柔润朦胧。刚柔相生间，将隐者遁入林泉的静穆空灵尽数铺陈，幽寂清远的禅意扑面而来，恍若能听松涛瀑鸣，沉陷这山野禅境之中。",[23,24,25,28,118,30,61,204,7,117,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad9555eacda81006abbe5bbe1fcec16.jpg",[],{"id":31522,"slug":31523,"title":31524,"dynasty":223,"author":31525,"museum":459,"description":31526,"tags":31527,"thumbUrl":31528,"material":179,"size":179,"collection":179,"collections":31529,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},230173,"xi-shan-cun-zhuang-tu-cheng-si-li-230173","溪山村庄图","程嗣立","此作用焦墨干笔绘就山居之景。层峦错落铺展，长松下隐现数椽村居，清溪萦回，板桥轻跨，杂木萧疏生趣盎然。以枯淡劲挺的线条勾勒山石轮廓，皴擦简括老辣，全凭墨色浓淡分出丘壑层次，不施粉彩，尽显山野萧疏清寂之态。画面两侧题跋与山水相映，文气融于笔墨间，将幽居林下的澹泊襟怀寄寓其中，以清简之笔写尽林泉高致，尽显文人山水画简淡冲和的美学意趣。",[23,24,25,202,114,118,30,2796,63,64,7,117,35,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c3fe4a576ada7779c6aaae7dbfd9bb.jpg",[],{"id":31531,"slug":31532,"title":31533,"dynasty":54,"author":434,"museum":459,"description":31534,"tags":31535,"thumbUrl":31536,"material":179,"size":179,"collection":179,"collections":31537,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},228796,"li-cong-xun-kuan-hua-zhao-zi-ang-shu-le-zhi-lun-juan-yi-ming-228796","李从训（款）画赵子昂书乐志论卷","此作用笔细劲工致，青绿设色调古雅沉静，以长卷铺展山居雅境。左幅松石苍古、塘生芙蕖，二雅士林泉晤谈，幽寂清远；中段院宇轩窗洞开，宾主围坐宴饮清谈，仆从侧立侍奉，人物情态鲜活灵动，尽显园居雅集意趣；右幅竹柳垂丝、回廊逶迤，衬出深宅清寂安闲。画面疏密得宜，移步换景，将文人寄兴丘园、乐志林泉的隐逸襟怀，融在花木亭台与日常闲趣之中，恬淡安和，尽显古典园居的雅致韵致。",[23,24,26,28,29,59,61,62,7,528,117,70,156,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729837735001f587a250ddbc621c9924.jpg",[],{"id":31539,"slug":31540,"title":31541,"dynasty":54,"author":434,"museum":459,"description":31542,"tags":31543,"thumbUrl":31544,"material":179,"size":179,"collection":179,"collections":31545,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},228777,"yun-shan-lou-ge-tu-yi-ming-228777","云山楼阁图","淡墨晕开烟霭，留白晕出覆雪层峦，远山如冰棱浮于昏褐天际，将冬日萧寒缓缓铺展。近岸楼台层叠飞檐，斗拱栏楯勾勒精工，丹红暖调破开冷寂，与素裹林木相映成趣。水面空蒙如镜，将天地昏茫融于一色，远近虚实相生，把江楼清旷藏进朦胧烟岚。笔触简淡却意韵悠长，工写兼济，将冷峭冬意与楼阁的沉稳雅致相融，尽显萧寒之中的静谧古雅，恍若让人踏入了一阕清寂悠远的冬日江楼旧梦。",[23,24,25,2895,28,59,30,62,9583,117,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb59895a5da6a6f6e2388d9f2e68579a.jpg",[],{"id":31547,"slug":31548,"title":31549,"dynasty":54,"author":20010,"museum":459,"description":31550,"tags":31551,"thumbUrl":31552,"material":179,"size":179,"collection":179,"collections":31553,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},228373,"yu-cun-xi-zhao-tu-ye-chen-huan-228373","渔村夕照图页","平远铺展水岸村居，淡墨轻岚晕染暮色朦胧，杨柳垂绦拂过漾漾水波，错落村舍隐在林烟之间，远山浅黛衔着晚日余晖，将江南渔村的恬然暮色晕染开来，处处漫着水乡暮归的松弛暖意。\n\n左侧题诗笔致隽秀飘逸，诗画相映，把渔樵待归的悠然意境烘托得愈发悠长，尽显文人画诗书画合一的雅致格调，将寻常村居的烟火诗意凝于尺幅间，淡朴温润，余韵悠悠。",[23,24,25,385,28,114,120,30,528,63,64,61,35,7,2395,3484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cb1ac73c38c3615b0b45103e7c3ca.jpg",[],{"id":31555,"slug":31556,"title":31557,"dynasty":133,"author":434,"museum":167,"description":31558,"tags":31559,"thumbUrl":31560,"material":316,"size":179,"collection":179,"collections":31561,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},228199,"si-xiao-tu-juan-yi-ming-228199","四孝图卷","《四孝圖》描繪故事四則，以圖文相間的方式表達。第一則述王武子之妻割股作羹湯，治癒婆母寒疾；第二則述三國陸績因其母好食橘，乃於進謁袁術席間，懷橘以奉母；第三則述晉王祥為母病中思食鯉魚於冬月，而至江上卧冰求鯉；第四則述後漢曹娥之父溺斃江中不得屍靈，至娥投江，三日後方抱父屍出。是皆孝心感人之事蹟，卷末並附李居敬四孝圖序，論孝之精義。通幅人物，以勻稱之線條為主，細挺而有力。",[23,24,25,26,29,28,119,153,61,7,117,342,69,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43a9f92db263f1582800ca70cba44fa.jpg",[],{"id":31563,"slug":31564,"title":31565,"dynasty":18,"author":434,"museum":459,"description":31566,"tags":31567,"thumbUrl":31568,"material":179,"size":179,"collection":179,"collections":31569,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},227914,"na-liang-guan-pu-tu-yi-ming-227914","纳凉观瀑图","《宋扇面画纳凉观瀑图》是宋代佚名画家创作的扇面画。\n作品描绘的是清溪一湾，水阁内一人身着白衣袒胸斜坐，乘凉观瀑的场景。\n《宋扇面画纳凉观瀑图》的画面无款印，对幅清朝乾隆皇帝题 一首。\n钤乾隆内府诸收藏印。\n画面钤有石渠宝笈、宝笈重编等印四方，对开钤有 等印玺。\n全画用笔粗豪，画风近李唐一派而有创新。\n曾经清内府收藏。\n此图原载《宋人名流集藻册》，两边石山挟泉水奔腾，重击大石，水花飞溅。\n阁后老树、丛竹葱郁。\n瀑布高悬直下，平中寓险。\n意境恬静清幽。\n对开有清高宗弘历题诗。\n裱边旧题签为燕文贵纳凉观瀑七字，观其画风，与燕氏无涉，显系后人误题。\n此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。\n水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。\n整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[23,152,24,25,29,28,118,30,117,62,204,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64712f5a7f4711445c135f242ae95dd1.jpg",[],{"id":31571,"slug":31572,"title":31573,"dynasty":18,"author":434,"museum":459,"description":31574,"tags":31575,"thumbUrl":31576,"material":179,"size":179,"collection":179,"collections":31577,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},227888,"jiang-shan-dian-ge-tu-ye-yi-ming-227888","江山殿阁图页","此作为典型的宋代界画小品，以界尺精工勾绘殿阁重楼，层台叠宇错落排布，朱栏墨瓦细节毕现，梁柱斗拱的规制严整入微，尽显苑囿楼宇的雍容富丽。一侧江天浩渺，淡墨晕染的远山轻描淡写，与工整严谨的殿阁形成虚实对照。\n\n几株垂柳轻曳，点景人物凭栏伫立，为森严的楼阁增添几分灵动生气。咫尺扇面之内，将人工匠造的规整与山水的清远空灵相融，于方寸间铺展出阔大悠远的意境，尽显院体绘画的精湛造诣。",[23,24,2895,59,28,30,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6bf586b9279ce366a700cdf11fca25.jpg",[],{"id":31579,"slug":31580,"title":31581,"dynasty":18,"author":434,"museum":459,"description":31582,"tags":31583,"thumbUrl":31584,"material":179,"size":179,"collection":179,"collections":31585,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},227870,"song-xi-fang-ting-tu-yi-ming-227870","松溪放艇图","近岸危石之上老松虬曲蟠郁，旁生枯木寒枝，晕染出深秋荒寂之态。远山以斧劈皴简括勾勒，隐现于淡墨烟霭之中，将江面衬得愈发空阔辽远。水面之上扁舟随波缓行，渔翁垂竿静坐，天地间只剩水波漾开的清寂。\n\n全幅以水墨晕染江南水滨的空濛氤氲，落笔苍劲老辣，皴擦利落，以小景写尽江湖林泉的幽远萧散。将隐士寄情烟波、与世无争的隐逸襟怀融于尺幅间，淡远空灵，尽显宋人山水小品以小见大的精妙，余韵悠长。",[23,24,25,4253,2895,114,28,30,118,540,206,115,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94dd824de3650215297d3eba319e3578.jpg",[],{"id":31587,"slug":31588,"title":31589,"dynasty":18,"author":434,"museum":459,"description":31590,"tags":31591,"thumbUrl":31592,"material":179,"size":179,"collection":179,"collections":31593,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},227345,"que-zuo-tu-yi-ming-227345","却座图","此幅绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。”文帝不悦但理在袁盎，只得纳谏，慎妃也只好悻悻而起。该画侧重表现矛盾化解过程中人物微妙的心理变化。本幅人物描绘生动，开脸俊美，衣纹用笔精诣，傅色雅美。配景树石花草，白鹤雾霭一一描写逼真，代表了宋代院画之极高水准。",[23,152,24,25,28,29,61,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d6d8a8b9805c31d51599d5becaab8a.jpg",[],{"id":31595,"slug":31596,"title":31597,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":31598,"thumbUrl":31599,"material":808,"size":809,"collection":3244,"collections":31600,"showCount":454,"zanCount":928,"manualWeight":48,"mainColor":128},226117,"the-seine-at-vetheuil-3-1879-mo-nai-226117","The Seine at Vetheuil 3, 1879",[7526,3239,7527,7528,7661,32,34,61,2796,23113,7,5404,1290,9085,69,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4230a1310934af7a33c7e702131decd3.jpg",[3244],{"id":31602,"slug":31603,"title":31604,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":31605,"thumbUrl":31606,"material":808,"size":809,"collection":3244,"collections":31607,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},226114,"the-seine-at-argenteuil-1877-mo-nai-226114","The Seine at Argenteuil, 1877",[3239,7526,32,1288,591,1446,61,5759,7,5404,7527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0ccc1310d2965ec2e5c396fd5b0a684.jpg",[3244],{"id":31609,"slug":31610,"title":31611,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":31612,"thumbUrl":31613,"material":808,"size":809,"collection":3244,"collections":31614,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},226079,"the-japanese-bridge-1918-1924-mo-nai-226079","The Japanese Bridge, 1918-1924",[3239,7526,63,1290,7,271,2336,14594,23130,9096],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9157fa76fdd18b9c6359bcfeb5f62e0d.jpg",[3244],{"id":31616,"slug":31617,"title":31618,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":31619,"thumbUrl":31622,"material":808,"size":809,"collection":3244,"collections":31623,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":985},226055,"the-chapel-of-notre-dame-de-grace-honfleur-1864-mo-nai-226055","The Chapel of Notre-Dame-de-Grace, Honfleur, 1864",[3239,7526,10664,7418,31620,23113,7,74,69,5404,411,5370,20230,31621,8259],"笔触自然","小教堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07c708aa1a213c55859624f70d7d71.jpg",[3244],{"id":31625,"slug":31626,"title":31627,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":31628,"thumbUrl":31633,"material":808,"size":809,"collection":3244,"collections":31634,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},226053,"the-bridge-under-repair-1871-1872-mo-nai-226053","The Bridge under Repair, 1871-1872",[7526,14294,10664,31629,9940,36,31630,32,9085,31631,69,7,1290,31632],"色彩表现","脚手架","蒸汽","维修场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ac063d2eb11f913532d6effd9b7c0.jpg",[3244],{"id":31636,"slug":31637,"title":31638,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":31639,"thumbUrl":31640,"material":808,"size":809,"collection":3244,"collections":31641,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},226032,"snow-scene-at-argenteuil-mo-nai-226032","Snow Scene at Argenteuil",[3239,7526,818,10864,71,7,13216,74,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c34060bfbba2b69e37d17e6d51e9ab.jpg",[3244],{"id":31643,"slug":31644,"title":31645,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":31646,"thumbUrl":31649,"material":808,"size":809,"collection":3244,"collections":31650,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},226028,"seaside-at-honfleur-1864-mo-nai-226028","Seaside at Honfleur, 1864",[3239,7526,31647,31648,4677,7,1288,11421,6116,5404,9952,61],"海滩","鹅卵石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb74a62f673c9d5290737718bc4d4b6.jpg",[3244],{"id":31652,"slug":31653,"title":31654,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":31655,"thumbUrl":31656,"material":808,"size":809,"collection":3244,"collections":31657,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},226004,"poppy-field-near-vetheuil-1879-mo-nai-226004","Poppy Field near Vetheuil, 1879",[3239,7526,14293,17648,23130,7418,29625,61,32,7,69,5404,3344,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b94a80ea32d3392f12db152b9af3fd1.jpg",[3244],{"id":31659,"slug":31660,"title":31661,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":31662,"thumbUrl":31663,"material":808,"size":809,"collection":3244,"collections":31664,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},225971,"le-jardin-de-ve-theuil-1881-mo-nai-225971","Le Jardin de Vétheuil, 1881",[152,3239,7526,8252,7,592,35,70,7527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7eecd71c3896a7e6223fba68266c25d.jpg",[3244],{"id":31666,"slug":31667,"title":31668,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":31669,"thumbUrl":31670,"material":808,"size":809,"collection":3244,"collections":31671,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},225867,"view-of-auvers-may-june-fan-gao-225867","View of Auvers (May - June )",[3239,3240,6957,9097,2796,35,3148,3374,7,5404,9952],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b2bce3a45c0617b70c9144ffb0b7d17.jpg",[3244],{"id":31673,"slug":31674,"title":31675,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":31676,"thumbUrl":31677,"material":808,"size":809,"collection":3244,"collections":31678,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},225787,"olive-trees1889-fan-gao-225787","Olive Trees1889",[152,3239,6957,14293,12970,5404,12540,5405,7,3148,5426,16089,9097],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a87a7246b80a9eac740d4dbd6dbced9.jpg",[3244],{"id":31680,"slug":31681,"title":3119,"dynasty":223,"author":3775,"museum":459,"description":31682,"tags":31683,"thumbUrl":31684,"material":179,"size":179,"collection":179,"collections":31685,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},224489,"fang-gu-shan-shui-ce-wu-li-224489","此作用墨苍润清逸，远景山峦以浓淡墨色层叠晕染，峰岫间留白作云气，晕出山影空濛悠远的层次感。近渚汀岸以干笔淡墨勾勒，间以浓墨点苔写林木，简笔轻描村居茅舍，错落隐于烟树之间。\n\n整幅构图疏密相宜，以留白衬出水乡的空阔静穆，干湿互用的笔墨带着松秀苍劲的质感，将江南水畔林泉栖居的闲淡意趣铺展开来，萧散静谧的古韵漫溢其间，仿若引人身临这山水幽居，共赴隐逸悠然的林下之境。",[152,24,25,385,114,118,30,63,64,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753cd9e04c73c33b73d3d06de173f862.jpg",[],{"id":31687,"slug":31688,"title":599,"dynasty":223,"author":472,"museum":459,"description":31689,"tags":31690,"thumbUrl":31691,"material":808,"size":809,"collection":179,"collections":31692,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},224436,"shan-shui-tu-wang-shi-min-224436","王时敏（1592年－1680年），初名赞虞，字逊之，号烟客，晚号西庐老人，直隶太仓州（今江苏太仓市）人，明末清初重要画家。万历首辅王锡爵孙，翰林王衡独子。崇祯初年荫官为太常寺少卿，入清后不仕。\n王时敏擅画山水，少时学董其昌，并临摹家藏宋元名作，以黄公望为宗，笔墨含蓄，浑厚清逸，唯构图略少变化。王时敏开创了山水画的“娄东派”，对清代画坛影响很大。他与王鉴、王翚、王原祁并称“四王”，加上恽寿平和吴历，合称“清六家”。王翚、吴历皆出其门下，孙王原祁亦得其指授。",[23,24,2895,114,30,118,7,69,31,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88dd2455359266ee4edecf48f9ce10fd.jpg",[],{"id":31694,"slug":31695,"title":30,"dynasty":223,"author":15721,"museum":459,"description":31696,"tags":31697,"thumbUrl":31698,"material":179,"size":179,"collection":179,"collections":31699,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},224435,"shan-shui-wang-yu-224435","此作用高远、平远章法铺展秋山胜景，左畔危崖陡立，以苍劲皴法写山石肌理，丹枫村居隐于崖麓，添几分暖意生机。近岸古松盘虬，坡石隐现于浅草间，流泉脉脉。江波浩渺，远山含黛晕染出空濛暮色。\n\n画面笔墨承袭娄东一脉，干笔淡墨皴擦，浅设色晕染清雅柔和。题诗与画境相映，糅合元人萧散意趣，铺就出幽寂闲淡的江秋林下之境，将文人山水的隐逸悠然藏于尺幅之间。",[23,24,25,30,202,28,114,118,117,7,35,500,2808,540,138,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":31701,"slug":31702,"title":23955,"dynasty":223,"author":647,"museum":459,"description":31703,"tags":31704,"thumbUrl":31705,"material":179,"size":179,"collection":179,"collections":31706,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},224386,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-224386","此作为娄东派仿古山水精品，师法黄子久笔意，以长卷铺展丘壑，山峦层叠萦回，林舍洲渚错落排布，兼具深远、平远之致，尽显江南山水的萧散淡远。\n用笔以干笔枯墨反复皴擦，间以淡墨晕染，笔墨苍浑厚润，元气内蕴，既恪守子久浅绛山水的简淡天真，又融入自身沉郁苍秀的笔法。画家经年经营此卷，于简淡中藏深秀，朴拙内含妍密，草木华滋，气象浑穆，尽显清初正统山水画追摹元人、讲求笔墨理气的创作旨趣，将黄公望平淡萧散的山水意韵，化为自身苍厚浑沦的笔墨境界。",[23,24,25,26,114,118,30,243,7,35,116,206,63,244,38,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff59f30a03d2837ac808debeb392d61.jpg",[],{"id":31708,"slug":31709,"title":599,"dynasty":223,"author":8347,"museum":459,"description":31710,"tags":31711,"thumbUrl":31712,"material":179,"size":179,"collection":179,"collections":31713,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},224263,"shan-shui-tu-zhang-zong-cang-224263","此作用笔苍劲老辣，山石以干笔皴擦，缀以浓墨点苔，尽显崖壁厚重雄浑。右侧危峰拔地而起，隐见飞瀑垂落，左侧林麓苍郁，杂木间晕染赭红花青，暗合秋意。\n\n溪泉蜿蜒穿谷，山居藏于幽林，水面扁舟轻泛，远景水天一色，构图兼取高远、平远，层次悠长。搭配题诗与朱印，诗书画印浑然一体，将秋山的清疏旷远与林下幽居的雅趣相融，兼具雄奇气象与秀润诗意，意境澹宕空灵。",[23,24,25,202,28,114,30,64,115,7,117,153,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab82f87f0726486e943e9a0edd8c887.jpg",[],{"id":31715,"slug":31716,"title":31717,"dynasty":223,"author":434,"museum":167,"description":31718,"tags":31719,"thumbUrl":31720,"material":1218,"size":31721,"collection":179,"collections":31722,"showCount":454,"zanCount":928,"manualWeight":48,"mainColor":49},223450,"shou-yan-tu-ping-12-yi-ming-223450","寿宴图屏12","太监们都身着官帽，衣冠楚楚。 所以，英皇是寿宴。 官在12屏，候车总人数，百亭，小亭，流水，台桥。 画面上特画松鹤鹤，寓意松鹤延年。",[23,29,28,59,61,62,116,63,64,117,7,90,736,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef188fc0c7bc94e225ee1b53cbedfdc.jpg","42x108厘米",[],{"id":31724,"slug":31725,"title":6176,"dynasty":223,"author":3733,"museum":20,"description":26865,"tags":31726,"thumbUrl":31727,"material":179,"size":6182,"collection":179,"collections":31728,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},223211,"geng-zhi-tu-ce-jiao-bing-zhen-223211",[152,24,25,385,565,29,28,59,4311,61,62,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684498733431a8860e2686600a0025ac.jpg",[],{"id":31730,"slug":31731,"title":31732,"dynasty":223,"author":4356,"museum":20,"description":9518,"tags":31733,"thumbUrl":31734,"material":9521,"size":9522,"collection":179,"collections":31735,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":49},223140,"shi-wan-tu-ce-4-ren-xiong-223140","十万图册4",[23,24,25,385,28,29,118,30,64,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdafbb1382f759faa9a0bd0fff6c51b3b.jpg",[],{"id":31737,"slug":31738,"title":31739,"dynasty":223,"author":858,"museum":514,"description":859,"tags":31740,"thumbUrl":31741,"material":140,"size":869,"collection":179,"collections":31742,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},222917,"hong-lou-meng-42-sun-wen-222917","红楼梦42",[23,565,24,29,28,61,62,269,117,591,16925,7,881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1046085ff2b6d5f0b337935821daf21c.jpg",[],{"id":31744,"slug":31745,"title":31746,"dynasty":223,"author":1431,"museum":111,"description":14949,"tags":31747,"thumbUrl":31748,"material":5384,"size":29794,"collection":179,"collections":31749,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},222616,"shan-shui-ba-jing-6-gong-xian-222616","山水八景-6",[23,24,114,118,30,63,64,116,7,358,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca709e50a46343aff080d2027c3af031.jpg",[],{"id":31751,"slug":31752,"title":599,"dynasty":54,"author":31753,"museum":20,"description":31754,"tags":31755,"thumbUrl":31756,"material":360,"size":31757,"collection":179,"collections":31758,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},222573,"shan-shui-tu-wu-chang-222573","吴昌","明（无声诗史作昌之，图绘宝鉴续纂作字振之，误）。振子。善山水，能世父业。康熙十六年（一六七七）尝作山水扇，见故宫周刊。传世作品有崇祯十四年（1641）作《山水图》扇页，著录于《中国书画家印鉴款识》；康熙十六年（1677）作《山水图》扇页，款署：“丁巳秋仲写，吴昌。”现藏故宫博物院。生平事迹未见详细记载，《无声诗史》《明画录》《图绘宝鉴续篡》等均将其名附于吴振后云：“子昌，字昌伯，能世其业。”从艺活动约于明崇祯至清康熙年间。",[23,24,25,152,2895,28,118,30,117,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d6a79dc397d65dfbd2e7d49cf122b2.jpg","35x65",[],{"id":31760,"slug":31761,"title":31762,"dynasty":54,"author":9142,"museum":167,"description":31763,"tags":31764,"thumbUrl":31765,"material":31766,"size":31767,"collection":179,"collections":31768,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},222157,"yi-shang-shou-shu-li-zai-222157","圯上授书","《明李在圯上授书图》描绘秦末张良得黄石公传授兵法的故事。张良曾闲步桥上，遇一老人故意将鞋丢到桥下，要求张良为他拾回并穿上。\n创作背景:良敬其老，勉强为之，老人微笑，去而复返，要求张良于五日后破晓时再会于该地。良依约前往，老人已先在，并怒斥他迟到为无礼。如是者三，良不断提前到，终于比老人早，老人喜，送他一册《太公兵法》，要他好好研读。谦抑敬老的张良得此秘笈，终能辅佐刘邦成其灭秦兴汉的开国霸业。",[23,24,25,385,114,29,118,61,30,289,7,120,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe160dab41e57c4aaf24743efdd630a9a.jpg","册页、册之第十六开、绢本、水墨","纵24.8cm、横26.5cm",[],{"id":31770,"slug":31771,"title":31772,"dynasty":18,"author":31773,"museum":20,"description":31774,"tags":31775,"thumbUrl":31776,"material":2012,"size":31777,"collection":44,"collections":31778,"showCount":454,"zanCount":48,"manualWeight":48,"mainColor":128},221497,"mu-niu-tu-juan-mao-yi-221497","牧牛图卷","毛益","牧牛图卷描绘烟柳平丘、牧童牧牛之生动情景，造型准确，用笔简率，款署“毛益画”三字，似为后添款。",[23,4253,24,25,26,114,29,119,91,61,30,7,7606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc508d5f86d0d8ce62bf271bbf921ecf.jpg","纵26.2厘米 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，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 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，谥恭懿。明朝仁和（今浙江杭州）人。嘉靖十四年（1535）进士，授南京工部主事，历任庐州、大名知府、陕西左布政使、右副都御史、大理寺卿、刑部右侍郎、兵部侍郎、南京右都御史、工部尚书、吏部尚书。\n因与张居正朝议多不合，辞归故里，把平生所见所闻著录成《松窗梦语》，记载了明代经济、社会、文化、民情风俗等方面资料，对研究明代社会经济、商业贸易有重要参考价值。",[24,25,2895,28,114,118,63,64,35,7,528,1735,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84246136b7c834be2cf97455cb8398f.jpg",[],{"id":32262,"slug":32263,"title":15858,"dynasty":223,"author":15859,"museum":459,"description":15860,"tags":32264,"thumbUrl":32265,"material":179,"size":179,"collection":179,"collections":32266,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},237169,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237169",[24,28,385,118,30,61,7,117,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60af99b5dd7bf17c5aea8d0dd5c0a47b.jpg",[],{"id":32268,"slug":32269,"title":32270,"dynasty":223,"author":32271,"museum":459,"description":32272,"tags":32273,"thumbUrl":32274,"material":360,"size":179,"collection":179,"collections":32275,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},237069,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237069","补景古臣松梅观鹤图像并附山水册","徐佐","此作用笔简淡松灵，以浅绛轻敷山水。层峦温润苍秀，林木枯荣交错，村居隐于林麓，板桥横溪渡水，疏密相宜间铺展出清寂淡远的山居胜境。干笔皴擦摹写山石肌理，枯木枝桠苍劲老辣，尽显山野清旷之态。\n\n左侧行书题识与山水合璧，笔墨萧散简逸，将寄情林泉的隐逸诗意融于尺幅之中，尽显幽居林下、观物寄兴的文人雅怀，是文人画诗书画意相融的典型之作。",[24,25,385,114,118,30,63,116,7,117,62,119,153,64,69,695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3408920150f75610ff68e341a6566a69.jpg",[],{"id":32277,"slug":32278,"title":32270,"dynasty":223,"author":32271,"museum":459,"description":32279,"tags":32280,"thumbUrl":32281,"material":360,"size":179,"collection":179,"collections":32282,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},237067,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237067","此作是诗画合璧的文人小品。右侧绘就山居秋景，浅赭轻青晕出山峦，云气空濛漫于峰头，苍松挺拔、杂木错落，清溪隐石，茅庐藏于林泉深处，笔墨简淡秀雅，晕染出幽寂清远的林下意趣。\n左侧行书题诗，笔致清脱俊逸，诗境呼应画中林泉高致，将文人心底幽怀与眼前山景相融。整体淡远萧疏，恬和安宁，尽显旧时文人士大夫寄情山水、醉心丘壑的清雅襟怀。",[24,25,385,114,28,120,118,30,761,117,7,500,881,502,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac8eb1b21b8fbbe8a918bde273bfbc2.jpg",[],{"id":32284,"slug":32285,"title":3901,"dynasty":54,"author":13169,"museum":20,"description":16383,"tags":32286,"thumbUrl":32287,"material":15512,"size":16386,"collection":179,"collections":32288,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},236908,"shan-shui-ce-song-xu-236908",[24,25,385,114,28,118,30,204,63,64,7,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f50c72816fffe8cbf23304031d9beb.jpg",[],{"id":32290,"slug":32291,"title":3901,"dynasty":223,"author":3836,"museum":459,"description":32292,"tags":32293,"thumbUrl":32294,"material":808,"size":809,"collection":179,"collections":32295,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},236727,"shan-shui-ce-hua-yan-236727","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[152,24,25,385,228,114,28,30,7,117,206,2421,246,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae85168545d98380ed02d659de03898.jpg",[],{"id":32297,"slug":32298,"title":26303,"dynasty":223,"author":19764,"museum":459,"description":32299,"tags":32300,"thumbUrl":32301,"material":808,"size":809,"collection":179,"collections":32302,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},236438,"shan-shui-shan-pan-gong-shou-236438","潘恭寿（1741－1794），字慎夫，号握篔，又号莲巢，丹徒（今江苏镇江）人。中年归依佛门后，法号达莲。",[24,25,2895,28,30,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82cd4d48783a34288e4967ab54d91a17.jpg",[],{"id":32304,"slug":32305,"title":30271,"dynasty":54,"author":4131,"museum":459,"description":30272,"tags":32306,"thumbUrl":32307,"material":179,"size":179,"collection":179,"collections":32308,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},236408,"xiao-xiang-ba-jing-ce-wen-jia-236408",[24,25,385,114,118,30,62,116,7,117,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed7536b187e8a91088501410f554325.jpg",[],{"id":32310,"slug":32311,"title":30271,"dynasty":54,"author":4131,"museum":459,"description":30272,"tags":32312,"thumbUrl":32313,"material":179,"size":179,"collection":179,"collections":32314,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},236407,"xiao-xiang-ba-jing-ce-wen-jia-236407",[24,25,385,114,118,30,115,64,7,500,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17840496ebd71800766d5e7df5ecb21f.jpg",[],{"id":32316,"slug":32317,"title":30271,"dynasty":54,"author":4131,"museum":459,"description":30272,"tags":32318,"thumbUrl":32319,"material":179,"size":179,"collection":179,"collections":32320,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},236406,"xiao-xiang-ba-jing-ce-wen-jia-236406",[24,114,30,385,118,115,64,7,500,674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bde81821e696b755d18fe93ab41a32d.jpg",[],{"id":32322,"slug":32323,"title":1178,"dynasty":54,"author":12598,"museum":459,"description":32324,"tags":32325,"thumbUrl":32326,"material":179,"size":179,"collection":124,"collections":32327,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},236390,"shan-shui-zhou-ding-yun-peng-236390","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,25,202,114,28,30,7,117,63,64,61,153,118,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[124,103],{"id":32329,"slug":32330,"title":32331,"dynasty":223,"author":32332,"museum":459,"description":32333,"tags":32334,"thumbUrl":32335,"material":808,"size":809,"collection":179,"collections":32336,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},236371,"mei-hua-shu-wu-tu-shan-ye-zhu-ben-236371","梅花书屋图扇页","朱本","[清]（1761—1819）字素人，号溉夫，自署竹西，江苏扬州人。",[24,25,2895,114,30,540,1665,4567,1877,69,7,117,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ef5ba0670559ca3dc050096d8dcb3e.jpg",[],{"id":32338,"slug":32339,"title":32340,"dynasty":54,"author":19803,"museum":20,"description":32341,"tags":32342,"thumbUrl":32343,"material":179,"size":179,"collection":124,"collections":32344,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},236183,"shan-shui-ren-wu-shan-ye-zhou-han-236183","山水人物扇页","周翰，是清代画家，即周沈禄，字子章，号南山，工山水、人物。生卒年月不详，约活动于明弘治至嘉靖年间。\n著作：南屏烟雨图，珍藏于北京故宫绘画馆，嘉靖三十四年（一五五五）所画，绢本，此图绘群山如蘑菇般突起，山中乔松老树葱茏茂密，山下白雪滃起，似有[山雨欲来风满楼]之势。数座楼观殿阁和梵宇，或隐于绿阴云雾之中，或屹立于山巅之上。数条小路或盘山绕涧通入峰顶，或隐没于深山幽谷之中。图中山峦以浓淡色皴染出远近层次和凹凸，富有立体的质感。苍松、杂树用笔扎实，而飘浮不定的烟云用留白烘染法。故此图是考查周翰生平、艺绩的重要史料，难能可贵。",[2895,24,30,61,7,153,437,28,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae35662cfd206b419ab2d7864093d15a.jpg",[124],{"id":32346,"slug":32347,"title":5608,"dynasty":223,"author":5609,"museum":20,"description":5610,"tags":32348,"thumbUrl":32349,"material":415,"size":5614,"collection":179,"collections":32350,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},236152,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236152",[24,28,29,61,70,7,173,8988,69,694,16162,10933],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f1662325f2499cb91f3f1ed492f26c7.jpg",[],{"id":32352,"slug":32353,"title":12712,"dynasty":223,"author":7748,"museum":20,"description":12713,"tags":32354,"thumbUrl":32355,"material":40,"size":12716,"collection":179,"collections":32356,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},236123,"shan-shui-lou-ge-ce-chen-mei-236123",[24,25,385,28,30,62,117,7,64,59,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cd7b8431d0b02358a7a258104d3b57.jpg",[],{"id":32358,"slug":32359,"title":3901,"dynasty":223,"author":29404,"museum":459,"description":32360,"tags":32361,"thumbUrl":32362,"material":179,"size":179,"collection":179,"collections":32363,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},236081,"shan-shui-ce-shen-zong-jing-236081","此作以虚实相生之法铺陈景致，右侧危崖壁立，苍劲皴笔尽显山石肌理，崖下林木错落，浅红点染枝头晕开萧疏秋意，临水茅舍静立，暗合山居幽趣。左侧留白尽写湖光浩渺，远山澹澹浮沉于烟波间，汀渚佳木错落点缀。\n\n笔致松秀简淡，墨色清润层次分明，以淡赭轻敷秋意，将江畔山居的安寂静穆铺展眼前，尽显文人山水空远幽寂的意趣，藏着寄情林泉、超然物外的隐逸襟怀。",[24,25,152,385,28,114,118,30,117,7,35,500,2808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a1ec9339eb075e97e0895732289911.jpg",[],{"id":32365,"slug":32366,"title":3901,"dynasty":223,"author":22445,"museum":459,"description":32367,"tags":32368,"thumbUrl":32369,"material":179,"size":179,"collection":124,"collections":32370,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},235936,"shan-shui-ce-qi-zhi-jia-235936","此作截取一隅丘壑绘就，危崖层叠错落，枯木虬曲盘桓，扎根顽石之上，枝叶疏朗有生趣。淡墨晕染的远山清润空蒙，留白代水，晕出幽寂萧疏的林下意境，笔法简淡却意趣悠长。\n\n左侧行书题跋笔墨舒展隽秀，书画相映，以文释画，尽显诗书画合一的文人雅趣。整幅以枯淡之笔写山水林泉，不做繁复皴染，于简淡苍劲间尽显古拙意韵，将林泉高致寄于尺幅，藏着画者寄情山水、脱略尘俗的襟怀。",[24,25,385,114,30,118,119,120,117,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5886999bb81b85f4ae8a784f64d3fa2e.jpg",[124],{"id":32372,"slug":32373,"title":19763,"dynasty":223,"author":19764,"museum":459,"description":32374,"tags":32375,"thumbUrl":32376,"material":179,"size":179,"collection":179,"collections":32377,"showCount":584,"zanCount":928,"manualWeight":48,"mainColor":128},235933,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235933","此作用浅赭花青晕染远峰，清润朦胧似笼轻烟，淡墨勾描林岸，留白铺陈湖面，极尽淡远空寂之致。近岸古寺隐于青林，浮屠卓立，湖面轻舟破烟而行，水雾漫过山峦林梢，将梵刹晕染得空灵出尘。\n\n右上角题诗以行书挥就，笔致清隽，书画相映成趣。整体笔墨简淡秀雅，以虚代实，把江南佛刹的幽寂禅意融于湖山烟霭之中，尽显文人情致，观之如临江南幽境，尘虑尽消。",[24,25,385,114,28,118,30,62,116,156,7,10545,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5781fae1c86903fb34e4c1100f474ab.jpg",[],{"id":32379,"slug":32380,"title":3901,"dynasty":54,"author":11101,"museum":459,"description":32381,"tags":32382,"thumbUrl":32383,"material":179,"size":179,"collection":179,"collections":32384,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},235830,"shan-shui-ce-li-liu-fang-235830","此帧以淡逸水墨写桐阴幽居意趣，双桐并立，阔笔点染团叶，墨色干湿浓淡相生，苍润清灵，枝干简劲纵逸，暗含拙朴古意。留白处绘平远水色，淡墨晕染岸渚遥岑，虚实相映间漾出幽寂淡远的林下清趣。\n\n画师取元人山水简淡萧散之韵，不事雕琢，以简驭繁，将文人幽淡襟怀寄寓笔墨间。笔底自带冷隽疏朗的林下风致，尽脱尘俗，寥寥数笔便写就幽居恬然意境，淡而弥远，简而味长，尽显尚韵重意的文人画特质。",[24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彦宗,又字子述",[24,25,385,114,30,117,7,116,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1b50898e9bd4edc7235bf9f4e29afb0.jpg",[],{"id":32415,"slug":32416,"title":3901,"dynasty":54,"author":32417,"museum":459,"description":32418,"tags":32419,"thumbUrl":32420,"material":808,"size":809,"collection":179,"collections":32421,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},235349,"shan-shui-ce-zhang-fu-yang-235349","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[54,24,25,385,114,30,90,761,117,7,153,119,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13af9b1f001365425e8bcea15c6d31a4.jpg",[],{"id":32423,"slug":32424,"title":3901,"dynasty":223,"author":32425,"museum":459,"description":32426,"tags":32427,"thumbUrl":32428,"material":179,"size":179,"collection":179,"collections":32429,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},235331,"shan-shui-ce-wen-dian-235331","文点","此作用笔秀静温雅，近岸茂林虬枝攒簇，短皴层叠点染山石，苔点疏密缀布，衬出草木蓊郁之态。白衣人影立在溪侧，凭流远望，似在听泉观云。崖壁以干笔枯墨勾勒皴擦，淡墨晕染出苍浑厚重的质感，留白作溪面，虚实相生间尽显空明澄澈。\n\n整幅画以简淡笔墨铺陈林泉幽寂之境，无刚猛粗砺之态，将林下散逸的高致意趣娓娓道来，把观者带入空山静穆、幽水闲流的清雅意境中，尽显文人画寄情林壑的审美意涵。",[24,114,118,30,7,244,61,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d0fbb73fd5e83bfe9b1bc066ed2b6ab.jpg",[],{"id":32431,"slug":32432,"title":32433,"dynasty":54,"author":2636,"museum":459,"description":19847,"tags":32434,"thumbUrl":32435,"material":808,"size":809,"collection":179,"collections":32436,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},235270,"wen-zheng-ming-shan-shui-shan-ye-wen-zheng-ming-235270","文徵明山水扇页",[24,25,2895,118,30,117,540,7,358,502,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf4462c3924a5c32075348b714c80d1a.jpg",[],{"id":32438,"slug":32439,"title":16354,"dynasty":223,"author":3836,"museum":459,"description":32292,"tags":32440,"thumbUrl":32441,"material":808,"size":809,"collection":179,"collections":32442,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},235063,"za-hua-ce-hua-yan-235063",[24,25,385,28,30,115,7,117,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67881f22ca4c2cf54784e1d830233d13.jpg",[],{"id":32444,"slug":32445,"title":20942,"dynasty":223,"author":434,"museum":20,"description":20943,"tags":32446,"thumbUrl":32447,"material":415,"size":7985,"collection":179,"collections":32448,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},234910,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234910",[24,25,385,28,120,30,62,64,7,117,61,116,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b8e1bad87b05d46979f6aefb01cfad.jpg",[],{"id":32450,"slug":32451,"title":3901,"dynasty":54,"author":17540,"museum":459,"description":32452,"tags":32453,"thumbUrl":32454,"material":179,"size":179,"collection":179,"collections":32455,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},234871,"shan-shui-ce-zhao-pu-234871","此作用笔枯淡简远，近岸老木虬枝槎枒错落，间杂丛树幽石，对岸危崖层叠，以干笔勾勒皴擦山石，尽显嶙峋硬朗之态，林麓烟霭隐现，意境空疏冷寂。\n左侧题咏与画境相契，以顽石自喻尽显文人孤高淡远的林下襟怀。整体以极简笔墨营造出萧散简逸的文人意趣，淡墨轻岚间藏着静穆澹泊的精神世界，诗画合璧，尽显传统文人画诗境与画境交融的雅致韵致。",[24,25,385,114,30,117,7,204,500,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f22d9caf6819b527380e04973e855.jpg",[],{"id":32457,"slug":32458,"title":3901,"dynasty":223,"author":2985,"museum":20,"description":32459,"tags":32460,"thumbUrl":32461,"material":179,"size":179,"collection":179,"collections":32462,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},234797,"shan-shui-ce-dong-bang-da-234797","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,114,118,385,30,7,328,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2cbd2f9a840d4ee8c3bb84f2bf2aad.jpg",[],{"id":32464,"slug":32465,"title":26459,"dynasty":223,"author":26460,"museum":20,"description":26461,"tags":32466,"thumbUrl":32467,"material":1218,"size":179,"collection":179,"collections":32468,"showCount":584,"zanCount":928,"manualWeight":48,"mainColor":128},234764,"huang-shan-tu-ce-jiang-zhu-234764",[24,25,385,437,114,30,117,7,4220,120,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34d4c6cd51f6b34db21d2b508f7f395.jpg",[],{"id":32470,"slug":32471,"title":3119,"dynasty":223,"author":2792,"museum":459,"description":32472,"tags":32473,"thumbUrl":32474,"material":506,"size":32475,"collection":179,"collection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12开，应以画为主，字作附件。\n王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,385,114,118,30,117,7,153,116,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0762a3eec0a65f59d303bfcfc56d44.jpg","纵48.1cm，横32.4cm",[],{"id":32530,"slug":32531,"title":380,"dynasty":223,"author":3836,"museum":3521,"description":32532,"tags":32533,"thumbUrl":32534,"material":230,"size":32535,"collection":179,"collections":32536,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},234299,"shan-shui-tu-ce-hua-yan-234299","华嵒的山水画转益多师，石涛的沉浑恣肆、恽寿平的松秀隽逸、北宗的峭利缜密、元人的深邃郁茂，都被他吸收融合。他没有泥古不化，在游览山河的过程中，不断的“师造化”，形成了晚年疏放、简率、冷峭、蕴藉的主流风格。华喦的山水画设色，多用浅绛或小青绿设色，承诸黄公望、王蒙和董其昌的传统，于统一中求对比，色调明洁淡雅。新罗山人在山水画设色上的创新是发展了青绿没骨山水。这种没骨山水是综合唐宋人、董玄宰和恽格没骨山水并参用清初四王笔法而形成的一种格制。华嵒的山水画从总体来看善于用色彩表达个人的情绪，用笔墨描绘悠远的意境，创造了独特的笔墨语言和表现技法，充分表达了其“刷尘”，“离垢”的理想。",[24,25,385,114,118,30,289,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8d4d6b1b1d3c0b3e8b1f9bfb2fbe25.jpg","31.2x44.7cm",[],{"id":32538,"slug":32539,"title":32540,"dynasty":54,"author":2636,"museum":20,"description":32541,"tags":32542,"thumbUrl":32543,"material":40,"size":32544,"collection":179,"collections":32545,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":1138},234234,"chui-hong-song-bie-tu-wen-zheng-ming-234234","垂虹送别图","此图卷首有王谷祥篆书引首：“垂虹送别。”画右起为吴江东门城垣、门楼，门下即垂虹桥，经文氏艺术剪裁，桥身只画三孔，桥上有一人，桥左坡底有二人，作话别状。坡左有楼宇一座，望之水天一色，客船扬帆，画左右上皆平林漠漠，远山如黛。左下款：“徵明”。卷后有文氏自题诗一首：“三载松陵重抚绥，忽随征诣向彤墀。一时目际明良会，百里方怀父母慈。岁歉具忧民乏食，政成还免众流簃。垂虹桥下棠千树，画属君侯去后思。”诗中谈到“三载松陵重抚绥”，可见，松陵垂虹桥向为送别之地。画中垂虹桥虽非对景实写，而送别之情，溢于笔墨之中。",[23,24,25,26,114,28,120,119,30,7,63,64,115,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8463e897713ca46c5ae853a46c5af9ca.jpg","纵29厘米，横109厘米",[],{"id":32547,"slug":32548,"title":32549,"dynasty":54,"author":12598,"museum":20,"description":32550,"tags":32551,"thumbUrl":32552,"material":1218,"size":179,"collection":179,"collections":32553,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},234142,"yun-bai-shan-qing-tu-juan-ding-yun-peng-234142","云白山青图卷","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”\n传世作品有《待朝图》轴，图录于《中国绘画史图录》下册；《伏虎尊者图》轴，现藏安徽省博物馆；《白马驭经图》轴，藏台北故宫博物院；《洗象图》轴，藏中国美术馆；罗浮花月图〉轴及《漉酒图》轴，藏上海博物馆；《龙王拜观音图》卷，藏中国美术馆；《溪山烟霭图》卷藏南京博物院；《丛山樵径图》轴，藏天津艺术博物馆；《达摩图》轴，藏沈阳故宫博物院；《煮茶图》轴，藏无锡市博物馆；《六祖像图》轴，藏荣宝斋。",[23,24,26,114,30,118,31,37,7,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fe8ffb55ad3c48f2bb14ff4bd9d273.jpg",[],{"id":32555,"slug":32556,"title":3901,"dynasty":223,"author":1431,"museum":20,"description":32557,"tags":32558,"thumbUrl":32559,"material":936,"size":32560,"collection":179,"collections":32561,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},233979,"shan-shui-ce-gong-xian-233979","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[24,25,152,385,114,118,30,7,117,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c506e1dd94b12399f4ff8f6e1f1702.jpg","纵22.2厘米，横33.2厘米",[],{"id":32563,"slug":32564,"title":3901,"dynasty":223,"author":1431,"museum":20,"description":32557,"tags":32565,"thumbUrl":32566,"material":936,"size":32560,"collection":179,"collections":32567,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},233973,"shan-shui-ce-gong-xian-233973",[24,114,118,385,30,289,7,1290,116,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7c4e867cb34626de1215535caa7f51.jpg",[],{"id":32569,"slug":32570,"title":32571,"dynasty":54,"author":55,"museum":20,"description":733,"tags":32572,"thumbUrl":32573,"material":40,"size":26582,"collection":179,"collections":32574,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},233758,"ren-wu-gu-shi-ce-5-chou-ying-233758","人物故事册5",[24,25,385,29,28,30,61,116,7,243,358,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5085027baa8e94e1b14d676b966a38.jpg",[],{"id":32576,"slug":32577,"title":26459,"dynasty":223,"author":13789,"museum":20,"description":32578,"tags":32579,"thumbUrl":32580,"material":1218,"size":32581,"collection":179,"collections":32582,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},233435,"huang-shan-tu-ce-mei-qing-233435","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[24,114,30,118,117,7,37,31,385,502,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b212879f959dce763fc65f14db00d25.jpg","纵26厘米，横33厘米",[],{"id":32584,"slug":32585,"title":28686,"dynasty":18,"author":434,"museum":20,"description":22394,"tags":32586,"thumbUrl":32587,"material":140,"size":32588,"collection":179,"collections":32589,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},233209,"shui-cun-lou-ge-tu-ye-yi-ming-233209",[24,28,30,59,385,62,7,64,2296,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43a3f3afa6be7d60a148037319b48597.jpg","纵23.5cm，横23.5cm",[],{"id":32591,"slug":32592,"title":32593,"dynasty":223,"author":647,"museum":20,"description":24750,"tags":32594,"thumbUrl":32595,"material":23808,"size":32596,"collection":179,"collections":32597,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},233167,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233167","草堂十志图册",[24,152,25,385,28,118,30,117,7,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff993efacc5c1ae5affddb96fb99508ff.jpg","纵29厘米，横29.5厘米",[],{"id":32599,"slug":32600,"title":32601,"dynasty":54,"author":801,"museum":20,"description":15919,"tags":32602,"thumbUrl":32603,"material":15512,"size":15922,"collection":179,"collections":32604,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},233138,"ming-ren-xi-shan-sheng-jing-he-bi-ce-yue-lai-xi-tu-ye-tang-yin-233138","明人西山胜景合壁册-越来溪图页",[24,25,385,114,30,994,117,3295,206,500,37,7,1300,118,120,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3926a6ab069ef73d913001355611c3.jpg",[],{"id":32606,"slug":32607,"title":32608,"dynasty":54,"author":9719,"museum":20,"description":15919,"tags":32609,"thumbUrl":32610,"material":15512,"size":15922,"collection":179,"collections":32611,"showCount":584,"zanCount":48,"manu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苍秀温润，线条清劲兼具柔润，点染间尽显园林小景的雅逸，将寄情林泉、耽于闲逸的心境融于尺幅之间，隐逸意趣悠长内敛。",[23,24,202,114,118,30,32721,7,358,64,117],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad90adfea8e7ab7fd9c6c9596f3a350.jpg",[],{"id":32725,"slug":32726,"title":32727,"dynasty":133,"author":5461,"museum":459,"description":32728,"tags":32729,"thumbUrl":32730,"material":179,"size":179,"collection":179,"collections":32731,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},228259,"ti-ni-zan-xiang-juan-zhang-yu-228259","题倪瓒像卷","画面右侧，倪瓒安坐榻上，面容清癯沉静，尽显林下风致。侍从侍立左右，案头清供文玩错落，屏风山水淡远空疏，晕染出幽寂脱俗的隐士居停氛围。\n\n卷后多段题跋，诸家书法风格各异，诗句咏叹倪瓒生平品格，书画合璧，将其孤高清介的文人风骨具象呈现。整卷清雅萧散，尽显元代文人崇尚的隐逸雅趣，以肖像配题咏的形式，定格了倪瓒的精神气韵，是元人诗画交融的佳作。",[23,24,25,26,437,114,28,61,30,7,153,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6266ca5922eabd9fc66a7133b8ca469.jpg",[],{"id":32733,"slug":32734,"title":32735,"dynasty":18,"author":434,"museum":459,"description":32736,"tags":32737,"thumbUrl":32740,"material":179,"size":179,"collection":179,"collections":32741,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},227909,"zhu-lin-bo-ruan-tu-ye-yi-ming-227909","竹林拨阮图页","《古代佚名画鉴赏大系·人物篇》是2年西苑出版社出版的图书，作者是杨宪金。\n佚名画与署名的作品，从绘画艺术上讲，是没有两样的。\n但在传世过程中，却有着不同的遭遇，历代收藏家与画史主要关注有名的作品，尤其是大家的作品，而对佚名画往往不屑一顾。\n因此，在这种境遇下，大量的古代佚名画在流传过程中消失了。\n这种情况一直延续到了明代，才逐渐引起收藏家们的注意，大收藏家项子京就对佚名画的著录、流传做了很大的贡献…… 春庭行乐图 眼药酸图 人物故事图 寒林策蹇图 竹林拨阮图 蚕织图 蚕织图 蚕织图 蚕织图 女孝经图 女孝经图 女孝经图 女孝经图 千秋绝艳图 千秋绝艳图 牧马图 望贤迎驾图 蕉石戏婴图 蕉荫击球图 槐荫击球图 杂剧图 雍正妃行乐图之二 雍正妃行乐图之六 溪堂客话图",[23,152,24,25,2895,29,28,61,504,806,7,32738,6016,6015,5426,32739],"宋代风格","古典技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c0aeb9c6b9df7aa3c1f6768dc7d653.jpg",[],{"id":32743,"slug":32744,"title":32745,"dynasty":18,"author":434,"museum":459,"description":32746,"tags":32747,"thumbUrl":32748,"material":179,"size":179,"collection":179,"collections":32749,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},227890,"fan-zhou-liu-tang-tu-yi-ming-227890","泛舟柳塘图","此作用淡墨轻岚织就江南暮色小景，边角取景尽显留白意趣。右下角垂柳清润柔婉，枝叶婆娑，将视线牵向烟水间。汀洲水藻以细笔轻点数染，鲜活铺展出泽国清寂。扁舟横波，舟中二人情态悠然，寥寥数笔便勾勒出萧散野趣，似将水乡闲逸尽数揉入清波。\n全画色调苍雅古淡，借绢底晕染出薄暮烟霭，远山仅以一抹淡墨虚绘天际，不着笔皴，晕开江天寥廓的空茫意境。全作以简驭繁，无过多刻画，将江南日暮的静谧安闲，与文人幽隐林下之思相融，尽显宋人坐赏泉壑的清雅意趣。",[152,24,25,2895,28,29,1216,880,1290,7,30,115,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7e5d872f2a4b41216ba1cf8d91129f.jpg",[],{"id":32751,"slug":32752,"title":32035,"dynasty":18,"author":434,"museum":459,"description":32753,"tags":32754,"thumbUrl":32755,"material":179,"size":179,"collection":179,"collections":32756,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},227853,"shan-shui-ren-wu-tu-yi-ming-227853","此作为典型的宋人山水小品，以圆框取景，将江南烟岚山居收于尺幅间。远景山峦以淡墨轻晕，隐没在濛濛雾气之中，虚实相生间晕染出空濛悠远的暮色秋意。近景林木苍郁，墨色干湿互用，枝叶攒簇尽显山野生机，几椽村舍错落藏于树荫之下，石阶板桥隐约勾连，似有山民往来其中，暗合着幽居林泉的隐逸意趣。\n\n整幅画作以简淡笔墨写尽江南乡野的静谧闲雅，无繁复刻画，却将烟雨空蒙的氛围感烘托至极，带着宋画独有的平淡天真，引人踏入这方避世山乡，静享林泉间松弛的意韵。",[23,24,25,2895,28,30,61,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05371d2fa860c6b3af216ce13990958.jpg",[],{"id":32758,"slug":32759,"title":32760,"dynasty":18,"author":32761,"museum":459,"description":32762,"tags":32763,"thumbUrl":32764,"material":179,"size":179,"collection":179,"collections":32765,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},227808,"cao-tang-ke-hua-tu-he-quan-227808","草堂客话图","何荃","此作以淡墨晕染山石林木，晕开江南山野湿润清寂的氛围。临水草堂轩窗通透，堂内陈设隐约可见，屋外二人缓步闲话，将幽居雅会的闲淡意趣铺展开来。笔墨苍秀简逸，屋舍界画工致灵动，林木点染生机自现，以尺幅之境铺陈林泉高致的隐逸情怀，尽显宋人小品山水以小见大的妙处，将士人幽栖林下、寄情丘壑的心境藏于皴染点画之中，淡而有味，雅意悠长。",[23,24,25,2895,28,30,62,63,64,61,116,7,117,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9398f267cba5d2aa93e5525aecdb351.jpg",[],{"id":32767,"slug":32768,"title":32769,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":32770,"thumbUrl":32772,"material":808,"size":809,"collection":3244,"collections":32773,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},226126,"the-tuileries-study-1876-mo-nai-226126","The Tuileries. Study, 1876",[7526,3239,7419,9938,32771,7,411,69,5404,209,61,502,2725],"朦胧质感","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad0b93ae7d80f2f293399ebebc0b45d.jpg",[3244],{"id":32775,"slug":32776,"title":32777,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":32778,"thumbUrl":32781,"material":808,"size":809,"collection":3244,"collections":32782,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},226125,"the-thaw-at-vetheuil-1880-mo-nai-226125","The Thaw at Vetheuil, 1880",[7526,3239,7419,9938,7417,32,32779,7,500,5404,9085,818,32780,1446,38],"冰块","冬末","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55195edd30bfd323bf193de1dafa4677.jpg",[3244],{"id":32784,"slug":32785,"title":32786,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":32787,"thumbUrl":32788,"material":808,"size":809,"collection":3244,"collections":32789,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},226110,"the-road-to-the-farm-saint-simeon-in-winter-1867-mo-nai-226110","The Road to the Farm Saint-Simeon in Winter, 1867",[3239,7526,7131,74,7,156,71,7778,818,5815,5404,7527,7661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72b8829824dbfa4e3c96b6d7c9a370dd.jpg",[3244],{"id":32791,"slug":32792,"title":32793,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":32794,"thumbUrl":32795,"material":808,"size":809,"collection":3244,"collections":32796,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},226099,"the-promenade-at-argenteuil-02-1872-mo-nai-226099","The Promenade at Argenteuil 02, 1872",[3239,7526,17648,7527,32,7,3295,69,5404,411,61,3483,9085,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e665035f6282e2a502290c2d6608b0f.jpg",[3244],{"id":32798,"slug":32799,"title":32800,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":32801,"thumbUrl":32804,"material":808,"size":809,"collection":3244,"collections":32805,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},226088,"the-petit-bras-of-the-seine-at-argenteuil-mo-nai-226088","The Petit Bras of the Seine at Argenteuil",[3239,7526,32,7,1446,61,32802,32803],"郊野风光","朦胧光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387458d19bd3c02107e8802fc17c6cb0.jpg",[3244],{"id":32807,"slug":32808,"title":32809,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":32810,"thumbUrl":32812,"material":808,"size":809,"collection":3244,"collections":32813,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},226084,"the-moreno-garden-at-bordighera-1884-mo-nai-226084","The Moreno Garden at Bordighera, 1884",[7526,3239,7419,14594,8252,69,21144,502,7,3241,2725,26816,32811,14294,9940],"热带植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F731e5057ee7651a0d5fe115cbd3200c9.jpg",[3244],{"id":32815,"slug":32816,"title":32817,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":32818,"thumbUrl":32819,"material":808,"size":809,"collection":3244,"collections":32820,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},226059,"the-church-at-ve-theuil-snow-1878-1879-mo-nai-226059","The Church at Vétheuil, Snow, 1878-1879",[7526,3239,7661,7527,818,23113,35,7,7131,61,7778,69,10586,5370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd729d43af55760e2f9727f4c8b9beecb.jpg",[3244],{"id":32822,"slug":32823,"title":32824,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":32825,"thumbUrl":32826,"material":808,"size":809,"collection":3244,"collections":32827,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},226043,"the-banks-of-the-seine-near-jeufosse-eure-mo-nai-226043","The Banks of the Seine near Jeufosse (Eure),",[3239,7526,9939,32,7,66,1446,5404,7527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88aa2b1fb926bdba4042969fce1f5d11.jpg",[3244],{"id":32829,"slug":32830,"title":32831,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":32832,"thumbUrl":32833,"material":808,"size":809,"collection":3244,"collections":32834,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},226042,"the-banks-of-the-seine-at-port-villez-1885-mo-nai-226042","The Banks of the Seine at Port-Villez, 1885",[3239,7526,30,32,1446,7,5404,9952,7419,14594,9940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96ec56cd645cbeadbfbd70108d65c95.jpg",[3244],{"id":32836,"slug":32837,"title":32838,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":32839,"thumbUrl":32842,"material":808,"size":809,"collection":3244,"collections":32843,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},226026,"saule-pleureur-2-1918-1919-mo-nai-226026","Saule pleureur 2, 1918-1919",[7526,3239,32840,7419,9940,463,7,2336,32841,1191,2725,9939],"色彩斑斓","树干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba7e94444469f07afa1fa6cf9c12ea32.jpg",[3244],{"id":32845,"slug":32846,"title":32847,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":32848,"thumbUrl":32849,"material":808,"size":809,"collection":3244,"collections":32850,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},226002,"poppy-field-in-giverny-03-1890-mo-nai-226002","Poppy Field in Giverny 03, 1890",[152,7526,3239,7418,9940,10664,29625,7,500,5404,9952,3148,1191,591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6542e1a8773f2316f2eee87a754d77.jpg",[3244],{"id":32852,"slug":32853,"title":32854,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":32855,"thumbUrl":32856,"material":808,"size":809,"collection":3244,"collections":32857,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},225875,"wheat-fields-with-reaper-auvers-1890-fan-gao-225875","Wheat Fields with Reaper Auvers 1890",[3240,3239,6957,10852,10863,26797,5404,9952,3148,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466bf76578d661aad6fa074125fc751.jpg",[3244],{"id":32859,"slug":32860,"title":32861,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":32862,"thumbUrl":32863,"material":808,"size":809,"collection":3244,"collections":32864,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},225860,"trees-july-1887-fan-gao-225860","Trees July 1887",[152,3239,3240,9939,7,21901,8254,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe0f4af7f0690cef4a292b9a180bc526.jpg",[3244],{"id":32866,"slug":32867,"title":32868,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":32869,"thumbUrl":32870,"material":808,"size":809,"collection":3244,"collections":32871,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},225858,"tree-fan-gao-225858","Tree",[3239,3240,6957,7,411,13914,32841,38,9096,9097],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10d19a09bd39a5be391af2acf817fdb.jpg",[3244],{"id":32873,"slug":32874,"title":32875,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":32876,"thumbUrl":32877,"material":808,"size":809,"collection":3244,"collections":32878,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},225849,"the-raising-of-lazarus-after-rembrandt-may-fan-gao-225849","The raising of Lazarus (after Rembrandt) (May - )",[3239,60,923,61,28,1622,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7515efc8d962339eba3e61f4d476f0a.jpg",[3244],{"id":32880,"slug":32881,"title":32882,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":32883,"thumbUrl":32885,"material":808,"size":809,"collection":3244,"collections":32886,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},225741,"entrance-to-the-public-gardens-in-arle-1888-fan-gao-225741","Entrance to the Public Gardens in Arle 1888",[3239,3240,9096,7,502,61,5371,6606,5404,8259,7418,71,15578,2336,32884],"入口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa9b183d2c550d89d3b4901e4295d14.jpg",[3244],{"id":32888,"slug":32889,"title":32890,"dynasty":3235,"author":434,"museum":459,"description":16988,"tags":32891,"thumbUrl":32892,"material":808,"size":809,"collection":179,"collections":32893,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":985},225316,"fu-shi-hui-54-yi-ming-225316","浮世绘54",[25836,28,59,29,62,61,63,156,7,1665,70,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f704c4610ac01c97ba3aeeea431aac.jpg",[],{"id":32895,"slug":32896,"title":32897,"dynasty":223,"author":472,"museum":459,"description":11524,"tags":32898,"thumbUrl":32899,"material":11527,"size":11528,"collection":179,"collections":32900,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},224409,"shu-hua-shi-liu-kai-10-wang-shi-min-224409","书画十六开-10",[23,24,25,385,28,118,30,63,64,7,117,35,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b1fffac4109daa74541bf9f3ca25d9.jpg",[],{"id":32902,"slug":32903,"title":30,"dynasty":223,"author":14803,"museum":459,"description":32904,"tags":32905,"thumbUrl":32906,"material":179,"size":179,"collection":179,"collections":32907,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":128},224406,"shan-shui-wang-xue-hao-224406","此作用笔萧散松秀，以淡墨晕染山峦，留白衬出春日山林的氤氲空濛。近景苍木挺拔，焦墨点簇枝叶，朴拙苍润。水岸茅舍错落隐于林麓，溪岸逶迤，浅滩汀渚以简笔勾勒，野趣盎然。\n\n师法董思翁平淡天真之趣，以干淡之笔写山川形胜，墨色清润层次分明，将江南春日的温润静穆尽显笔下。画面空灵疏朗，无繁复刻画，却尽显山水间幽寂闲适，文人画的清雅逸趣跃然纸上，简淡中藏深醇意蕴。",[23,24,25,114,118,120,202,30,117,7,1665,156,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7358dbdc29f9f727bbef4ce953c11b1.jpg",[],{"id":32909,"slug":32910,"title":32911,"dynasty":133,"author":434,"museum":20,"description":32912,"tags":32913,"thumbUrl":32914,"material":230,"size":32915,"collection":179,"collections":32916,"showCount":584,"zanCount":48,"manualWeight":48,"mainColor":49},223583,"yao-cen-yu-shu-tu-yi-ming-223583","瑶岑玉树图","图为山势险峻，峰高崖壁，飞瀑如画，洁白如画； 附近树木高大翠绿，溪水汇成池，凸显奇石怪状，顺着扶手爬上楼梯，几座临水亭映入眼帘。亭中一人坐在窗前， 写了一部漫画。 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中颇具韵致的佳构。",[24,25,385,958,118,114,153,30,243,7,35,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0550a3bfc27e975b77c4e736c51f2550.jpg",[],{"id":33599,"slug":33600,"title":33601,"dynasty":223,"author":2792,"museum":459,"description":33602,"tags":33603,"thumbUrl":33604,"material":179,"size":179,"collection":179,"collections":33605,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},236055,"teng-bi-qiao-song-zhou-wang-hui-236055","藤薜乔松轴","此作用笔苍劲秀润，近景巉岩峻岭间，古松虬曲、藤薜缠绕，山隅茅舍隐现，野意悠然。远景平湖如镜，远山含黛以淡墨轻晕，虚实相生，将尺幅天地拓开悠远意境。\n\n山石以短披麻皴勾勒皴擦，兼具雄浑质感与灵秀意趣，水墨浓淡晕染区分阴阳向背，融北派山水厚重与南宗温润于一体，设色简淡雅致，以实景山水的朴拙承载文人画的清寂淡远，尽显林下幽居的静穆意韵，是极具文人意趣的山水佳构。",[24,25,202,30,114,118,540,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76a93270ec01d0fdde63f688e699537.jpg",[],{"id":33607,"slug":33608,"title":3901,"dynasty":223,"author":647,"museum":459,"description":33609,"tags":33610,"thumbUrl":33611,"material":179,"size":179,"collection":179,"collections":33612,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},236051,"shan-shui-ce-wang-yuan-qi-236051","此作用笔苍浑老辣，以干笔积墨反复皴染山峦，层层叠叠间尽显山石厚重质感。上部奇峰拔地而起，留白作云气萦绕山坳，将高旷幽深之意藏于留白间。下部水泽蜿蜒环抱着错落村居，萧疏林木点缀其间，晕染出冬日元寂清和的淡远氛围。\n\n画作以披麻解索皴写山石肌理，枯淡中见秀润，苍润结合间恪守正统笔墨宗法，将文人画的书卷气融于山水丘壑之内，静穆雅致中带着醇厚的笔墨意趣，尽显山水空濛萧散的冬日意韵。",[24,152,114,118,385,30,117,7,35,32,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc787e8552221060b97bb2fd4ea44b26a.jpg",[],{"id":33614,"slug":33615,"title":33616,"dynasty":54,"author":434,"museum":459,"description":33617,"tags":33618,"thumbUrl":33619,"material":179,"size":179,"collection":179,"collections":33620,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},235840,"lu-zhi-tian-chi-shan-tu-ye-yi-ming-235840","陆治天池山图页","此作用笔简淡疏朗，以枯淡墨色勾勒嶙峋崖壁，皴擦间尽显山石苍硬奇崛，虬曲枯木盘绕岩间，疏枝带残叶点缀幽境，留白处恍有空蒙云气流转，将绝岭孤山的清寂萧疏铺陈开来。\n\n搭配左侧清劲秀雅的行书题跋，文辞叙写山之险峻，与画中丘壑相映成趣，把天池山的幽旷高古尽数烘托。整体以意驭笔，摒弃繁复晕染，将山林奇险与文人隐逸的清冷情怀融于尺幅，书与画浑然一体，尽显尚简求雅的文人意趣，意境淡远耐人寻味。",[24,25,2244,114,28,118,120,119,153,30,117,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7436a180e650f019c1780696f3fdafcc.jpg",[],{"id":33622,"slug":33623,"title":33624,"dynasty":54,"author":9719,"museum":459,"description":26311,"tags":33625,"thumbUrl":33626,"material":808,"size":809,"collection":179,"collections":33627,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},235802,"yun-shan-tu-shan-chen-chun-235802","云山图扇",[152,24,25,2895,114,118,30,881,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc21276703be95efd328890befa659e.jpg",[],{"id":33629,"slug":33630,"title":33631,"dynasty":223,"author":434,"museum":459,"description":33632,"tags":33633,"thumbUrl":33634,"material":179,"size":179,"collection":179,"collections":33635,"showCount":419,"zanCount":928,"manualWeight":48,"mainColor":49},235709,"zou-zhe-shan-shui-tu-zhou-yi-ming-235709","邹喆山水图轴","此作取高远开合之景，左上危崖巉岩，笔墨挺劲勾勒出山峦硬朗骨相，古松虬曲扎根崖壁，枝叶舒展有凌云之姿。中景山居藏于林麓间，窗内人影对坐，为清冷山林晕开一缕烟火暖意。烟岚留白柔化层叠丘壑，将近溪、村居、远山林亭晕连成浑然整体，虚实相生。近滩乱石错落，清溪缓流，扁舟系于浅濑，野趣悠然。\n\n皴法融披麻与斧劈意趣，山石简练，林木点染疏密合宜，淡墨晕出山雾空濛，兼收北派雄健与南宗温润，将林泉幽居的隐逸清趣，藏于烟霞丘壑之中。",[24,202,28,118,30,117,7,35,64,62,994,540,500,1474,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ca0839c65b0165554e6b938fbdc82b.jpg",[],{"id":33637,"slug":33638,"title":380,"dynasty":223,"author":3775,"museum":459,"description":33639,"tags":33640,"thumbUrl":33641,"material":179,"size":179,"collection":179,"collections":33642,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},235645,"shan-shui-tu-ce-wu-li-235645","这幅山水以干笔皴擦铺陈丘壑，近岸村居错落疏朗，枯木伴卧波板桥，水色空濛间晕开江南平畴的幽寂。远山层叠浑厚，飞泉隐挂崖壁，林麓苍郁朴拙。\n\n笔墨苍秀简淡，带着元人山水的萧散意韵，将闲居丘壑的雅兴藏在淡墨轻岚中。整幅画恬澹冲和，缓缓铺展出山居清旷之致，把文人静穆的幽怀融于笔墨，于简淡中见沉郁朴厚的气韵，尽显文人山水画的雅致意趣。",[24,114,118,385,119,153,30,63,64,579,289,116,35,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e75ceb242252b4cd4f81ea3cef5820.jpg",[],{"id":33644,"slug":33645,"title":3901,"dynasty":223,"author":20259,"museum":459,"description":33646,"tags":33647,"thumbUrl":33648,"material":179,"size":179,"collection":179,"collections":33649,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},235553,"shan-shui-ce-zhu-chang-235553","此作以平远法铺展湖山胜景，淡墨晕染空濛湖面，两岸丘峦以松灵笔触皴擦出浅淡肌理，草木蓊郁尽显清幽野趣。湖心树荫下，扁舟横陈，幽人独坐静享林泉闲意，右侧矶岩上朱红小亭鲜亮醒目，为清冷水墨晕开一抹暖意。\n\n题诗与画境相衬，将幽居避世的雅趣融于笔墨间，整体墨色清润淡雅，留白烘托出水天色空寂萧散的意境，尽显简逸冷寂的审美意趣，以极简笔墨勾勒出世外幽居的静穆之美，藏着文人寄情山水、栖心林泉的隐逸襟怀。",[24,25,385,114,28,30,115,7,117,32,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8586f4f043500662afafcd90601f7241.jpg",[],{"id":33651,"slug":33652,"title":28333,"dynasty":223,"author":1533,"museum":459,"description":10958,"tags":33653,"thumbUrl":33654,"material":808,"size":809,"collection":179,"collections":33655,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},235342,"fang-gu-shu-hua-ce-wang-jian-235342",[24,25,385,28,30,118,117,7,206,35,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8342c055e93dd7a721d4cb1cb560485.jpg",[],{"id":33657,"slug":33658,"title":28333,"dynasty":223,"author":1533,"museum":459,"description":10958,"tags":33659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，汉族。唐代边塞诗人。字达夫、仲武，沧州(今河北省景县)人,居住在宋中(今河南商丘一带)。少孤贫，爱交游，有游侠之风，并以建功立业自期。天宝八载(749)，经睢阳太守张九皋推荐,应举中第,授封丘尉。十一载,因不忍“鞭挞黎庶”和不甘“拜迎官长”而辞官，又一次到长安。次年入陇右、河西节度使哥舒翰幕，为掌书记。安史乱后，曾任淮南节度使、彭州刺史、蜀州刺史、剑南节度使等职，官至,封渤海县侯。世称“高常侍”。 有《高常侍集》等传世。永泰元年（765年）卒，终年64岁，赠礼部尚书，谥号忠。高适为唐代著名的边塞诗人，与岑参并称“高岑”。笔力雄健，气势奔放，洋溢着盛唐时期所特有的奋发进取、蓬勃向上的时代精神。早年曾游历长安，后到过蓟门、卢龙一带，寻求进身之路，都没有成功。在此前后，曾在宋中居住，与李白、杜甫结交。其诗直抒胸臆，不尚雕饰，以七言歌行最富特色，大多写边塞生活。\n岑参 (约715年—770年)唐代诗人，原籍南阳（今属河南新野），迁居江陵（今属湖北）。汉族，荆州江陵（湖北江陵）人，去世之时56岁，是唐代著名的边塞诗人。其诗歌富有浪漫主义的特色，气势雄伟，想象丰富，色彩瑰丽，热情奔放，尤其擅长七言歌行。",[24,25,385,114,118,120,153,30,289,116,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb9dbfb8440fa8e56bd1b0b7a1a5c52.jpg",[],{"id":33813,"slug":33814,"title":13771,"dynasty":54,"author":4044,"museum":459,"description":22966,"tags":33815,"thumbUrl":33816,"material":179,"size":179,"collection":179,"collections":33817,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},234222,"shan-shui-juan-sun-zhi-234222",[23,24,25,26,30,114,28,118,243,7,32,66,35,676,3817,540,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":33819,"slug":33820,"title":13771,"dynasty":223,"author":22878,"museum":459,"description":33821,"tags":33822,"thumbUrl":33823,"material":179,"size":179,"collection":179,"collections":33824,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},234217,"shan-shui-juan-weng-song-nian-234217","翁嵩年（1647至1728），字康饴，号萝轩，钱塘（今杭州）人。康熙二十七年（一六八八）进士，仕为广东提学。以枯笔作林峦峯岫，气质古雅疏拙，画家习气，毫发不能犯其笔端。曾得青玉版十三行，旋进之内府。",[23,24,25,26,114,118,30,7,117,35,32,500,502,413,2419,1364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e42ea5c559a1dba39efffa7bc3a5d.jpg",[],{"id":33826,"slug":33827,"title":33828,"dynasty":223,"author":2792,"museum":20,"description":33829,"tags":33830,"thumbUrl":33831,"material":1218,"size":33832,"collection":179,"collections":33833,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},234180,"dong-ting-she-yue-juan-wang-hui-234180","洞庭赊月卷","对于唐寅，虽然王翚多有临仿，但效果并不尽如人意。唐寅创造的极富线条感的皴法，是以长披麻皴兼以长斧劈皴为主，逐渐摆脱斧劈皴的侧锋用笔，并延长它们，加上线条性，挺劲中含柔和，且皴法简练，中锋与侧锋兼施，我们且称之为“长条斧劈皴”。反观王翚笔下的唐寅，用笔迅疾，冗笔过多；用墨水分较大，使得线条重叠涣漫，有时会形成线条堆叠出的墨块。线条跳跃、挑剔，出锋尖锐、刻露，线条做出尖锐的转折，而唐寅的转角是和缓舒缓的，呈现优雅从容的圆弧状。这些特征使得王翚临仿唐寅风格的画作在一定程度上显得粗野与鲁莽，失去了文雅与含蓄。如创作于康熙十一年壬子（1672）的《云溪高逸图》卷（故宫博物院藏）、创作于康熙十七年戊午（1678）的《仿唐寅洞庭赊月图》卷（故宫博物院藏）、创作于康熙二十二年癸亥（1683）的《写唐解元诗意山水图》轴（南京博物院藏）等，画面中皴法草率，处处冗笔，纵然是结构复杂，但对于笔墨使用度的掌控不如唐寅，细节的处理、点景的勾绘，均显欠缺。这样造成的结果就是画面气息显得粗野不羁，含蓄不足、刻露有余。",[23,24,25,26,114,28,30,118,120,119,115,156,64,7,11754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纵23.2厘米，横83.3厘米",[],{"id":33835,"slug":33836,"title":33837,"dynasty":54,"author":8650,"museum":20,"description":33838,"tags":33839,"thumbUrl":33840,"material":18291,"size":18292,"collection":179,"collections":33841,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},234051,"jia-shu-qing-yun-tu-shan-lan-ying-234051","嘉树晴云图扇","蓝瑛的扇面《嘉树晴云图》，画的是山石丘壑间，古松盘桓，白云缭绕，二隐士临溪席地而憩，坐而论道。整个扇面幽静清远，洒脱自然。我国古代文人讲究“达则兼济天下，穷则独善其身”，归隐山林则成为了官场失意的士大夫避世的理想与归宿。\n《嘉树晴云图》画中的隐士坐而论道的“避世”情境，适应了我国古代文人涉、忘、出而皆备的心理需求，因此深得人们喜爱。",[24,25,2895,114,28,30,61,7,881,117,118,153,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ddd331fc0e7be4e9b5165c7795b3bd.jpg",[],{"id":33843,"slug":33844,"title":33845,"dynasty":18,"author":434,"museum":20,"description":33846,"tags":33847,"thumbUrl":33848,"material":373,"size":33849,"collection":179,"collections":33850,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},234015,"liu-tang-mu-ma-tu-ye-yi-ming-234015","柳塘牧马图页","此图原为《历代名笔集胜册》之一幅，画我国北方游牧民族牧马情景。画中青山绿水，岸柳成荫，五十余匹骏马，在二十余人监视下放牧。马的姿态各异，有在岸上飞奔着，有在水中游泳者，也有嘶鸣嬉戏者，给人一种怡然自得之感。为南宋扇画之杰作。 画中无款印，清耿昭忠题为陈居中作，实误。曾经耿昭忠、庞莱臣等收藏。 经启功、徐邦达、刘九庵等鉴定，为南宋绘画精品。",[24,25,2895,29,114,7101,528,2246,90,61,30,7,411,206,7606,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F889481f88712cc838b8760e3fbc15223.jpg","23.5×25.6cm",[],{"id":33852,"slug":33853,"title":3901,"dynasty":223,"author":1431,"museum":20,"description":32557,"tags":33854,"thumbUrl":33855,"material":936,"size":32560,"collection":179,"collections":33856,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},233977,"shan-shui-ce-gong-xian-233977",[24,114,118,385,30,63,62,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14796f4039bf7b11eabbba7851e775e8.jpg",[],{"id":33858,"slug":33859,"title":33860,"dynasty":54,"author":55,"museum":20,"description":733,"tags":33861,"thumbUrl":33862,"material":40,"size":26582,"collection":179,"collections":33863,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},233757,"ren-wu-gu-shi-ce-4-chou-ying-233757","人物故事册4",[24,25,385,29,28,61,62,30,156,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10ae1dd795bfab5e5b033fd14bde2fd.jpg",[],{"id":33865,"slug":33866,"title":33867,"dynasty":54,"author":55,"museum":20,"description":733,"tags":33868,"thumbUrl":33869,"material":40,"size":26582,"collection":179,"collections":33870,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},233755,"ren-wu-gu-shi-ce-2-chou-ying-233755","人物故事册2",[24,25,29,28,27,30,61,63,64,7,244,2244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01dd36c10a57f67835c6283078bfdad.jpg",[],{"id":33872,"slug":33873,"title":33874,"dynasty":54,"author":801,"museum":20,"description":33875,"tags":33876,"thumbUrl":33877,"material":3758,"size":33878,"collection":179,"collections":33879,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},233708,"yi-an-tu-juan-tang-yin-233708","毅庵图卷","此以别号图为题材。图中描绘了松竹清幽、蕉石雅洁的庭院，茅屋中，一高士欹坐执麈，作遐观之状。笔墨苍润挺秀，设色清雅明丽。此高士乃文徵明三十年前砚友朱秉忠，别号毅庵，秉志高洁，为人清简，是一位优游林泉、笃爱诗书的隐士。",[24,25,26,114,28,120,119,118,30,61,7,1665,35,328,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7603e5376692e6fa453279e5f734de65.jpg","纵30.7厘米 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诗笔致温润秀逸，结体舒展雅致，诗句咏叹山中丰饶自在，与画境相互生发。整幅以素淡之韵，将林泉高致融于方寸间，尽显文人山水清和散澹的雅怀，藏静穆淡远的山水诗意于笔墨之中，是文人书画小品的佳制。",[24,25,385,114,30,341,342,116,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b8290b9dc65f14bc553c5723165ae6.jpg",[],{"id":34052,"slug":34053,"title":3901,"dynasty":223,"author":8448,"museum":459,"description":34054,"tags":34055,"thumbUrl":34056,"material":179,"size":179,"collection":179,"collections":34057,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},228926,"shan-shui-ce-gao-qi-pei-228926","以指代笔，水墨写意。淡墨晕染出空濛烟岚，远山隐绰在暮雨薄雾之间，浑茫幽寂。近处以浓墨挥斫危崖，苍劲古木虬曲斜生，枝叶以焦墨点簇，朴拙老辣。临水村居简笔勾廓，素净雅致，静卧于溪岸之侧，流露出山野幽居的闲淡意趣。\n\n题诗与画境呼应，将春日迟暮、静听暮雨的萧散心境融于笔墨。整幅画面虚实相生，简淡空灵，以极简的笔墨勾勒出清远空寂的山居之境，尽显文人画简远疏淡的审美意趣。",[24,114,385,30,35,7,244,37,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc0b4398013bfd218a1a58a5ceb209d.jpg",[],{"id":34059,"slug":34060,"title":34061,"dynasty":54,"author":23852,"museum":459,"description":27543,"tags":34062,"thumbUrl":34063,"material":179,"size":179,"collection":179,"collections":34064,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},228919,"peng-lai-xian-yi-tu-leng-qian-228919","蓬莱仙弈图",[23,24,25,26,28,29,438,120,30,62,61,7,116,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8255e9747b858ce33ea55f9a372f599.jpg",[],{"id":34066,"slug":34067,"title":34068,"dynasty":54,"author":5851,"museum":459,"description":34069,"tags":34070,"thumbUrl":34071,"material":179,"size":179,"collection":179,"collections":34072,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},228399,"chi-bi-sheng-you-tu-juan-zhu-yun-ming-228399","赤壁胜游图卷","开卷是平远江景，淡墨晕染汀渚林峦，茅庐隐于烟霭疏树之间，清寂萧散，暗合夜游的幽旷意韵。后段行书铺陈全篇，开篇浓墨榜书造势，笔力沉厚雄奇，随后行笔渐趋舒展灵动，提按藏枯涩润秀之变，行气绵密贯通，将泛舟叩舷、酾酒临江的旷达心境，藏于笔锋流转之中。\n\n书画合璧，文辞、笔墨与画意融为一体，把夜游赤壁的浩渺襟怀，化作纸上烟岚与笔底波澜，尽显萧散狂逸的文人意趣，是书画互衬的精妙之作。",[23,24,25,26,114,120,119,30,115,7,153,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3b52125cd618b3e7941437626cd79b.jpg",[],{"id":34074,"slug":34075,"title":32070,"dynasty":18,"author":434,"museum":459,"description":34076,"tags":34077,"thumbUrl":34078,"material":179,"size":179,"collection":179,"collections":34079,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},227900,"tian-long-mu-niu-tu-yi-ming-227900","这幅小品以俯瞰视角铺展江南野趣，淡赭晕染出水天底色，澄澈河道切分绿野，田埂如柔织的细带，圈出片片新嫩秧田。右岸垂柳荫浓，水墨晕染出翠条拂水的柔态，树底茅舍隐现，晕淡朦胧，藏起村居日常的烟火气。田埂之上，牧者徐行，牛犊垂首啮草，意态安闲。\n\n全画笔致秀润清和，无繁缛刻画，只以极简构图晕染出初夏江南的恬谧，将耕牧闲散的乡居意趣藏于尺幅之间，把宋人浸在日常里的诗意悉数铺展，淡而有味，尽显小品画的雅致隽永。",[152,24,25,2895,28,118,30,32073,91,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e51707131104a62630a3a9f39e1b758.jpg",[],{"id":34081,"slug":34082,"title":34083,"dynasty":18,"author":434,"museum":459,"description":34084,"tags":34085,"thumbUrl":34086,"material":179,"size":179,"collection":179,"collections":34087,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":1138},227855,"shan-yao-lou-guan-tu-ye-yi-ming-227855","山腰楼观图页","此作以水墨绘危峰陡立，云雾如纱空蒙，将山体半隐，仅留山腰楼宇静踞林麓。以斧劈皴利落勾勒山石筋骨，墨色由浓转淡晕染烟岚，虚实相生衬出幽谷空寂幽深。\n\n咫尺扇面以少胜多，尽显简淡空灵意趣，将林泉高致藏在淡墨轻岚间。题诗与画境呼应，把寻仙慕隐的出世之思融于山水，淡远清逸，观之如临其境，似可凭栏观山、静听穿林风声，幽远超脱的山居雅境跃然绢上。",[23,24,25,2895,30,62,117,7,59,118,28,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F274facbfdb6c3c7e5bdce52d2bca3976.jpg",[],{"id":34089,"slug":34090,"title":34091,"dynasty":18,"author":434,"museum":459,"description":34092,"tags":34093,"thumbUrl":34094,"material":179,"size":179,"collection":179,"collections":34095,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},227836,"wu-yun-lou-ge-tu-ye-yi-ming-227836","五云楼阁图页","此作以淡墨晕染铺就空濛底色，危峰如削，拔地耸峙，尽显山石嶙峋硬朗。山脚苍松错落，林麓间野路蜿蜒隐现，以边角取景营造出幽远无际的山野氛围，水墨皴擦勾勒出峭拔山势，将烟霞缥缈的世外秘境晕染得清冷出尘。\n对页题诗与画境相融，笔墨间浸透文人幽居林泉的雅趣，简淡构图里藏着辽远的天地气象，尽显宋人对山水意境的极致追寻，静穆间带着出世的空灵韵味。",[23,152,24,25,2244,2895,28,120,118,59,30,62,31,7,37,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea704ebcc05fe27f9924065ef24fb0e.jpg",[],{"id":34097,"slug":34098,"title":34099,"dynasty":18,"author":434,"museum":459,"description":34100,"tags":34101,"thumbUrl":34102,"material":179,"size":179,"collection":179,"collections":34103,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},227346,"ming-liu-ji-zao-ce-shi-er-zhen-yi-ming-227346","名流集藻册十二帧","此《宋名流集藻册》为“蝴蝶装”形制，共十二帧。每帧有清乾隆皇帝的御笔题诗，与画意相对应，抒其感悟和评论，画页裱边的上端附有题签。依照《石渠宝笈续编》著录的顺序是，一开“燕文贵，纳凉观瀑”；二开“赵伯骕，碧山绀宇”；三开“萧照，丹林诗思”；四开“李迪，鸡雏待饲”；五开“苏汉臣，蕉阴击球”；六开“李迪，无花果图”；七开“刘松年，山馆读书”；八开“梁楷，三高游赏”；九开“梁楷，秋柳双鸦”，十开“陈宗训，秋庭戏婴”；十一开“鲁宗贵，玲峰鹁鸽”；十二开“陈可久，春溪水族”。\n\n“蝴蝶装”书籍装帧形式之一。始于唐末,盛行于北宋。其装订方法是将每页从中缝把有文字的两个半页对折,背面空白处在外,然后把这样对折的一叠散页用一张纸从前包到后面,并将各页折口处牢牢地粘连在这张纸上,以免脱落,这样就形成了蝴蝶装的书。其所以得名,是因为书册打开后左右对称,犹如蝴蝶展开双翅,因而称为“蝴蝶装”,或“蝶装”。",[23,24,25,385,2895,114,28,29,30,116,328,7,61,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca49fdb98c3f08c2121cc90ba0a38f2.jpg",[],{"id":34105,"slug":34106,"title":34107,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":34108,"thumbUrl":34113,"material":808,"size":809,"collection":3244,"collections":34114,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},226104,"the-railway-bridge-at-argenteuil-1874-2-mo-nai-226104","The Railway Bridge at Argenteuil, 1874 [2]",[7526,3239,7527,34109,17648,34110,32,1290,7,411,31631,9952,5404,34111,1446,38,34112],"色彩并置","铁路桥","桥墩","波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a5be3f8e05a9ef299557cd04e38e64.jpg",[3244],{"id":34116,"slug":34117,"title":34118,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":34119,"thumbUrl":34120,"material":808,"size":809,"collection":3244,"collections":34121,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},226086,"the-old-tree-at-the-confluence-1889-mo-nai-226086","The Old Tree at the Confluence, 1889",[7526,3239,7419,16089,30,32,7,579,3374,1446,38,13916],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff92193d1b38c9b54d64327c68faff0a9.jpg",[3244],{"id":34123,"slug":34124,"title":34125,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":34126,"thumbUrl":34128,"material":808,"size":809,"collection":3244,"collections":34129,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},226034,"st-germain-lauxerrois-a-paris-mo-nai-226034","St. Germain lAuxerrois a Paris",[3239,7526,17667,23113,34127,71,7],"欧式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e0713d3bd45771d74a4dd0285da3a.jpg",[3244],{"id":34131,"slug":34132,"title":34133,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":34134,"thumbUrl":34137,"material":808,"size":809,"collection":3244,"collections":34138,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},225928,"flood-waters-1896-mo-nai-225928","Flood Waters, 1896",[7526,3239,1290,7,9085,209,1191,7419,9938,34135,32771,8259,16073,34136],"洪水景象","水色交融","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee1eab3d5dc6cae82da82680ab628fd.jpg",[3244],{"id":34140,"slug":34141,"title":34142,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":34143,"thumbUrl":34145,"material":808,"size":809,"collection":3244,"collections":34146,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},225856,"the-yellow-house-the-street-september-fan-gao-225856","The yellow house (The street) (September - )",[3239,3240,1459,788,71,7,36,34144,8254],"城镇街景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7f2c3a0db6cae4782be25f4bcbfcbf.jpg",[3244],{"id":34148,"slug":34149,"title":34150,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":34151,"thumbUrl":34154,"material":808,"size":809,"collection":3244,"collections":34155,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},225765,"houses-in-auvers-fan-gao-225765","Houses in Auvers",[152,3239,3240,6957,9096,9097,35,34152,34153,3295,7,5404,9952,71,8253,3148],"草顶","红顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfef57e96049a9ee0182a14132868945.jpg",[3244],{"id":34157,"slug":34158,"title":34159,"dynasty":3235,"author":434,"museum":459,"description":16988,"tags":34160,"thumbUrl":34161,"material":808,"size":809,"collection":179,"collections":34162,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},225526,"fu-shi-hui-284-yi-ming-225526","浮世绘284",[15217,11574,28,61,170,26825,9950,7,6549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff204b71e85755b36065d4a00cb5c52f3.jpg",[],{"id":34164,"slug":34165,"title":34166,"dynasty":3235,"author":434,"museum":459,"description":16988,"tags":34167,"thumbUrl":34168,"material":808,"size":809,"collection":179,"collections":34169,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},225512,"fu-shi-hui-270-yi-ming-225512","浮世绘270",[15217,28,61,170,7,5370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f26d84bd9906203b71361ff34a5befe.jpg",[],{"id":34171,"slug":34172,"title":34173,"dynasty":3235,"author":434,"museum":459,"description":34174,"tags":34175,"thumbUrl":34176,"material":179,"size":179,"collection":179,"collections":34177,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},225431,"fu-shi-hui-189-yi-ming-225431","浮世绘189","暮月悬于淡墨长空，清辉漫过烟霭水乡。渔舟破水而行，梢公持篙稳立，舱中旅人团坐，任由扁舟载着归意漫溯。野凫惊起，剪开水面柔波，漾开细碎涟漪。远处岸汀林麓轻笼薄霭，茅舍隐在深翠间，浅渚疏枝晕染出清寂秋意。\n\n题画俳句错落排布，墨色与淡彩相融，将旅人的闲寂愁思晕开纸面。笔触清简秀雅，以淡赭、花青铺展暮色，留白衬出空濛水色，把暮归的悠然与水乡将夜的恬宁揉为一处，尽显侘寂清和的抒情画韵。",[15217,28,30,115,61,1290,7,156,35,639,2316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F129990f61e538d14cb452bf3756b362b.jpg",[],{"id":34179,"slug":34180,"title":34181,"dynasty":3235,"author":434,"museum":459,"description":34182,"tags":34183,"thumbUrl":34184,"material":179,"size":179,"collection":179,"collections":34185,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},225419,"fu-shi-hui-177-yi-ming-225419","浮世绘177","青灰调晕染出水天色的冬日清寂，白雪匀覆在屋舍松枝，将暖棕的木构檐角衬得愈发温软。天地水色融成一片朦胧，消弭了边界感。渡头灯柱静立，晕开隐约暖意，与满目的清寒轻轻呼应。水面小舟载着渔人缓行，破开镜面似的水波，为这片静穆添上一缕鲜活烟火气。\n\n简净线条勾勒出村落错落轮廓，留白的积雪将天地铺陈得疏朗开阔。笔触把雪后渔村的安闲清冷揉开，将冬夜初霁的恬然定格，晕开独属水岸的侘寂温柔。",[15217,11574,818,69,1290,675,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b5f934e7e3a2f276cbaddfb8719b9a8.jpg",[],{"id":34187,"slug":34188,"title":34189,"dynasty":3235,"author":434,"museum":459,"description":34190,"tags":34191,"thumbUrl":34193,"material":179,"size":179,"collection":179,"collections":34194,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},225336,"fu-shi-hui-89-yi-ming-225336","浮世绘89","这幅绘卷以清隽色调铺展乡野闲景，靛蓝晕染出澄澈天色与幽深水色，苔绿晕覆缓坡茂林，暖棕勾勒屋舍行人，层次柔和分明。盘山小径上，行旅之人步履匆匆，似奔赴前路；右侧瀑流奔涌入水，撞碎一汪清潭。前景屋舍错落，石砌护坡衬着覆茸缓坡，浓荫垂落晕染出夏日幽谧。\n\n线条工细流畅，既勾勒山石屋宇的硬朗轮廓，又晕出松枝流泉的灵动生机。将江户郊野的行旅日常，揉入山水景致间，恬淡悠然，尽显浮世市井里的乡野意趣。",[15217,11574,28,61,7,35,64,24122,6616,1446,34192,1191,6015,1192,7751],"蓝绿色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b4cf62aebb4c5452ad32b795d10ad77.jpg",[],{"id":34196,"slug":34197,"title":34198,"dynasty":3235,"author":434,"museum":459,"description":34199,"tags":34200,"thumbUrl":34201,"material":179,"size":179,"collection":179,"collections":34202,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},225332,"fu-shi-hui-85-yi-ming-225332","浮世绘85","这幅风景版画以高远视角铺展云海深谷之景，朱红飞桥凌空横跨山涧，将孤亭与崖畔古寺相连。青绿山石鲜亮明快，暖调屋宇错落嵌入崖壁，翻涌的云海如棉絮般托举山峦，将山寺衬得恍若缥缈仙境。\n作者以利落线条勾勒建筑与山石肌理，冷暖色彩雅致对比，兼具装饰性与意境感，将深山古刹的凌空奇险和山林空寂的禅意相融，尽显幽玄出尘的意蕴，令人仿若踏入这灵秀秘境，静赏山云间的静谧禅味。",[15217,11574,28,30,62,63,37,4677,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f8f059fd473dcde6fb951462b02bea8.jpg",[],{"id":34204,"slug":34205,"title":34206,"dynasty":223,"author":2792,"museum":459,"description":34207,"tags":34208,"thumbUrl":34209,"material":179,"size":179,"collection":179,"collections":34210,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[23,24,26,28,30,118,29,33,7,34,358,3817,1665,1376,2123,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],{"id":34212,"slug":34213,"title":34214,"dynasty":223,"author":472,"museum":459,"description":34215,"tags":34216,"thumbUrl":34217,"material":179,"size":179,"collection":179,"collections":34218,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},224412,"shu-hua-shi-liu-kai-13-wang-shi-min-224412","书画十六开-13","此作以平远之法铺陈山水，近岸怪石古拙，杂木错落间茅舍隐于林麓，野意悠然。中景湖波澹澹，洲渚横斜，远景山峦层叠，以淡墨晕染出空濛烟岚，将天地开合尽纳尺幅。\n\n笔墨温润苍秀，干笔皴擦间带着醇厚的仿古意趣，淡赭设色晕染绢素，衬出草木清润。右上角题款清雅融于景致，整体气息静穆萧散，将江南山水的温婉沉静铺展开来，尽显文人幽居林泉的雅怀，于仿古之中自出机杼，尽显简淡冲和的文人画意趣。",[23,24,28,118,385,30,63,64,579,117,35,1665,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F528be01158804a7b2b58896cf758f1ed.jpg",[],{"id":34220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219年9月2日，该作品在“锦绣江山——沈阳故宫藏山水画特展”中展出。",[23,152,24,25,202,28,30,117,7,676,64,37,118,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc489ecfc1c06d7bcf6b15139b503e79.jpg",[],{"id":34252,"slug":34253,"title":34254,"dynasty":223,"author":13460,"museum":459,"description":34255,"tags":34256,"thumbUrl":34257,"material":179,"size":179,"collection":179,"collections":34258,"showCount":419,"zanCount":928,"manualWeight":48,"mainColor":128},224277,"shan-shui-hua-hui-ce-shi-fu-shan-224277","山水花卉冊(十)","此作用淡墨晕染出春日烟雨郊野，线条温润舒缓，山峦以写意勾勒辅以浅皴，不见凌厉锋芒。平泽两岸烟柳成林，屋舍隐于软枝茂叶间，远山含黛隐没在氤氲雾气里，留白烘托出水墨交融的空濛氛围。\n整体构图开合自然，萧散松弛的文人意趣藏于笔墨间，澹泊清远中带着杨柳柔媚的春日意态，以极简的题字呼应画面的简淡，将林泉隐逸的闲静心境寄于其中，淡而不寡，简中含情，尽显文人画以画抒怀的雅致格调。",[23,24,25,114,118,385,30,7,117,35,500,3755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917e8b136dce45a1cbd12bb86d9a6e2.jpg",[],{"id":34260,"slug":34261,"title":34262,"dynasty":54,"author":434,"museum":459,"description":34263,"tags":34264,"thumbUrl":34265,"material":179,"size":179,"collection":179,"collections":34266,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},223682,"feng-yu-po-zhou-tu-yi-ming-223682","风雨泊舟图","此作以淡墨晕染出空濛雨意，水雾裹挟秋意漫过江天。近岸怪石虬松相错，丹红枝叶点破深褐苍翠，晕开晚秋暖色。远山隐在烟霭中，只露嶙峋半截，将天地晕成一片苍茫。\n\n江面上薄雾横生，泊岸的舟楫静立，远水处孤帆在烟浪里浮沉，尽写羁旅之人待雨歇的怅惘。画师以虚实相生之法，将风雨欲来的沉郁秋江铺展开，淡墨轻皴晕出湿冷空寂的氛围感，把秋日羁泊的萧索意趣藏在烟水林峦之中。",[23,24,25,30,28,118,115,579,289,64,7,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04289f046947f163b3eebe5ac5d89837.jpg",[],{"id":34268,"slug":34269,"title":7108,"dynasty":18,"author":434,"museum":459,"description":34270,"tags":34271,"thumbUrl":34272,"material":179,"size":179,"collection":179,"collections":34273,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[23,152,24,25,475,140,28,4014,118,7,528,358,117,1290,1288,61,500,1376,2715,73,15198,345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":34275,"slug":34276,"title":34277,"dynasty":223,"author":434,"museum":56,"description":34278,"tags":34279,"thumbUrl":34280,"material":34281,"size":34282,"collection":179,"collections":34283,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},223486,"wu-kuan-lian-she-yi-ming-223486","无款莲社","画白莲群聚的白莲，白莲群庐山俗地净莲，是佛教末年山东林寺僧人慧远修士所建。 以慧远为首的“十八圣”，有两个界面，专职人员，有同伙，学佛修行。",[24,25,26,437,923,61,30,63,64,7,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdbbe4bdab61cf202a84f218f71d1300.jpg","絹本、設色","35x849cm",[],{"id":34285,"slug":34286,"title":34287,"dynasty":18,"author":434,"museum":20,"description":34288,"tags":34289,"thumbUrl":34290,"material":415,"size":34291,"collection":179,"collections":34292,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},223334,"si-lun-tu-yi-ming-223334","丝纶图","此图描绘了在苍苍茫茫的山林中,几位女子正在纶丝,两个天真的幼童则在嬉戏游玩,生活气息十分浓厚。掩映在山林中的茅屋围以栅栏,近处的山石陡峭高耸,附岩壁而长的苍松枝干虬劲蟠曲,显示了劲松雄强的本色。画上有一首题诗: “素丝头绪长,羡居好安排。青鞋不动尘,缓步交去来。脉脉意欲乱,春春首重回。王言正如丝,只付经纶才。”对此画的画意作了很好的诠释。",[23,24,25,202,114,28,118,30,579,1289,61,7,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b414ad5d3ac5d537b5cf0676affa9d4.jpg","纵83.2厘米横37.5厘米",[],{"id":34294,"slug":34295,"title":34296,"dynasty":223,"author":8759,"museum":14515,"description":29750,"tags":34297,"thumbUrl":34299,"material":1218,"size":29755,"collection":179,"collections":34300,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},223314,"fa-jie-yuan-liu-tu-juan-8-ding-guan-peng-223314","法界源流图卷-8",[23,24,25,26,923,29,28,61,540,1665,117,7,1856,34298,175],"兽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79abe8c8eb4e0f02acfd507fe752e49e.jpg",[],{"id":34302,"slug":34303,"title":34304,"dynasty":223,"author":2985,"museum":167,"description":11552,"tags":34305,"thumbUrl":34306,"material":316,"size":34307,"collection":179,"collections":34308,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},223120,"hui-yu-bi-fan-cheng-da-fen-sui-ci-zhou-dong-bang-da-223120","绘御笔范成大分岁词轴",[23,24,25,202,29,118,28,119,153,120,30,61,35,7,117,994,20551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d91960ab7f8a64757d76c1aac586d.jpg","112.9cmX28.7cm",[],{"id":34310,"slug":34311,"title":34312,"dynasty":223,"author":1310,"museum":20,"description":34313,"tags":34314,"thumbUrl":34315,"material":140,"size":34316,"collection":179,"collections":34317,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},223099,"fang-fan-kuan-shan-shui-zhou-tang-dai-223099","仿范宽山水轴","此画作者采用全景似的构图，使近、中，远景层次分明，中心突出。\n远景山峦重叠，主峰矗立，气势雄伟，山巅间烟云缭绕，云气弥漫，似浮起润泽的雾气；中景峰峦对峙，林木丛生，烟锁山腰，山坳中树木茂密，层次分明，满而不塞，两座秀丽的楼阁屋宇隐显于烟光浮动之中，寂静的山林更增添了幽邃之感。近处为坡石丛林，两坡石间高架有一座木桥，两山峡谷间溪水直流而下，汇聚于溪水之中，左侧溪水边，座落着几间房舍，掩映在浓密的丛树荫底",[23,24,25,202,30,60,118,114,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe688d58fa90bd041577c62dc09e8dbba.jpg","155.3x74.4",[],{"id":34319,"slug":34320,"title":34321,"dynasty":223,"author":8448,"museum":1443,"description":14940,"tags":34322,"thumbUrl":34323,"material":11868,"size":34324,"collection":179,"collections":34325,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},222652,"zhi-hua-xi-lie-zhi-hua-zhu-xi-gao-qi-pei-222652","指画系列-指画·竹溪",[23,15361,114,1067,206,7,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde50c2552559fadc928067e60eecddd0.jpg","35.88x57.31cm",[],{"id":34327,"slug":34328,"title":34329,"dynasty":54,"author":34330,"museum":167,"description":34331,"tags":34332,"thumbUrl":34334,"material":179,"size":34335,"collection":179,"collections":34336,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":128},222240,"shui-cheng-tu-qian-gu-zhang-fu-222240","水程图","钱谷 张复","钱谷，[明]（一五○八至？）一作（一五○八至一五七二）字叔宝，自号悬罄室，吴县（今江苏苏州）人。少孤贫，失学，迨壮始知读书。\n家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便学心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔於艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物字藏有万历六年（一五七八）客金陵王氏修行馆作兰竹卷，时年七十一。《冯元成集、肯史·文徵明传、列朝诗集小传、苏州府志、明画录、无声诗史、明史·艺文志》\n朱彝尊《列朝诗传》：钱谷字叔宝，少孤贫，游文侍诏门下，日取架上书读之。以其余力点染水墨，得沈氏之法。晚葺故庐，读书其中。闻有异书，虽病必强起，匍匐请观。手自抄写，几於充栋，穷日夜校勘，至老不衰。钱谷手抄之书，一丝不苟，为后来藏家所重。陆心源皕宋楼曾藏有钱氏抄本《会稽掇英集》，后有文震孟跋说：《会稽掇英集》皆集唐宋名贤时文，宇内流传绝少，是其早岁所抄，无一惰笔，乃从宋刻本而录者，为世珍重可知矣。钱谷家贫，故文徵明为题室名悬罄就是空无所有的意思。文震孟《姑苏名贤小记》：叔宝先生不为家，家逾贫。先太史过而题其室曰'悬罄'。先生笑曰：'吾志哉！'而其嗜读日益甚。收录古文金石书几数千卷。\n看到文徵明收藏的典籍罗列，顿生羡慕之心，遂有志于藏书。先后购求及手录古籍至几万卷，闻有异书，虽病必强起借观，手自抄写，校雠至子夜不辍。所录古文、金石书近万卷，皆为当时佳本秘籍。建藏书室有“悬罄室”，由文徵明为其命名并题写匾额。老屋三间，藏书充栋。所藏多人间罕见版本。刘凤作有《悬罄室集》。又命名多处藏书、藏画室名如“十友斋”、“意远轩”、“红木轩”、“梦雉斋”等。藏书印有“句吴逸民”、“三吴漫士”、“吴越王子孙”、“中吴钱氏收藏印”、“钱谷手抄”、“百计寻书志亦迂，爱护不异隋侯珠。有假不还遭神诛，子孙不宝真其愚”、“钱氏叔宝”、“悬罄室”等。喜刻书，刻印有唐、宋秘籍众多，数千卷近百种。编有《续吴都文粹》、《静观室三苏文选》等，著有《三国类抄》、《隐逸集》、《南北史摭言》、《长洲志》、《吴中人物志》、《悬罄室杂录》、《悬罄室诗》、《苏州三刺史诗》等。子钱允治，亦酷喜藏书。 [1]\n钱允治（1541~？），字功甫，好书一如其父。钱曾《读书敏求记》说：功甫老屋三间，藏书充栋。白曰检书，必秉烛，缘梯上下。所藏多人间罕见之本。《列朝诗传》则称：年八十余，隆冬病疡，映日钞书，薄暮不止。功甫殁，无子，其遗书皆散去。自是吴中文献无可访问，先辈读书种子绝矣。\n二、[清]字子璧，号内史，晚号东海逸民，华亭（今上海市松江）诸生。诗、画俱工绝。清朝以来，松江以书名者，则有钱谷、曹思邈、沈楫。钱、曹皆名宿，而结构精劲当钱第一。晚年名益重，求书者巵尝满。《三冈识略、江苏诗徽、画家知希录》\n三、[清]号龙泓，浙江萧山人。善山水，不拘於绳墨而气格自高，其疏纵处近学罗牧，深郁处远师黄吾野。《越画见闻》。\n四、清各州县官署名主办钱粮、赋税、会计的幕僚。俗称钱谷师爷，亦称钱粮师爷。\n张复[明]（一四0三至一四九0）道士。字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[24,114,385,30,32,5759,788,34333,726,7,156,59],"城楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fabe384c3582a29de017a39cc4327e.jpg","25.1x38.4公分厘米",[],{"id":34338,"slug":34339,"title":34340,"dynasty":223,"author":34341,"museum":2458,"description":34342,"tags":34343,"thumbUrl":34344,"material":1759,"size":34345,"collection":179,"collections":34346,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":179},220756,"shan-xia-chu-quan-tu-su-ren-shan-220756","山下出泉图","苏仁山","此作用笔清劲洗练，纯以白描淡墨写尽丘壑林泉。奇峭山石层叠错落，以勾勒皴擦带出嶙峋肌理，不着艳色却尽显山石清刚之态。山间古松斜逸虬曲，错落排布，为冷寂山景添几分清拔气韵。\n\n画面疏密相衬，高远山势间藏出深远意境，流泉隐于谷中，汀洲人家三两点缀，衬出林泉幽寂之致。整体萧散淡远，将文人隐逸的清冷意趣融于笔墨间，极简笔触晕染出超脱世俗的静穆氛围，尽显水墨留白的悠远意韵。",[23,24,114,475,118,341,64,7,289,1391,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178e99fe3c7ea1e6c456cc9ec449bd94.jpg","349 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，草圣张旭醉唐代”。",[24,25,114,30,385,118,63,64,243,37,7,116,153,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a07f03dda9cd3e7eb54f8891eca37b.jpg",[],{"id":35345,"slug":35346,"title":35347,"dynasty":54,"author":434,"museum":459,"description":16872,"tags":35348,"thumbUrl":35349,"material":179,"size":179,"collection":179,"collections":35350,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},234695,"ming-ren-dong-shan-si-zhu-tu-wan-shan-yi-ming-234695","明人东山丝竹图纨扇",[24,25,2895,28,29,61,170,7,117,806,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd09617bcb4db10d2d7a50e44da7cbe.jpg",[],{"id":35352,"slug":35353,"title":3901,"dynasty":223,"author":4335,"museum":459,"description":32486,"tags":35354,"thumbUrl":35355,"material":179,"size":179,"collection":179,"collections":35356,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},234643,"shan-shui-ce-cha-shi-biao-234643",[24,25,385,120,28,30,63,64,579,156,2316,115,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F910d489193199787947dbcb7c725e005.jpg",[],{"id":35358,"slug":35359,"title":35360,"dynasty":223,"author":2792,"museum":20,"description":35361,"tags":35362,"thumbUrl":35363,"material":179,"size":179,"collection":179,"collections":35364,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},234513,"qiu-lin-ye-zhang-tu-wang-hui-234513","秋林曳杖图","魏晋以来，杖的含义开始拓宽；以物喻人，杖也喻为品德高洁的符号。\n到唐宋，杖不再专属是老人之物，而是年轻化、文学化。杖开始与文人、与文学跬步不离。\n甚至说，几乎所有文人、诗人的作品里，都曾出现过杖的踪影。尤其是宋人，对杖的描述，就有九节杖、桄榔杖、藤杖、铁杖、鸠杖、寿杖、锡杖、玉杖、棁杖等等。\n最寻常的杖材，当是竹、藤、木。\n如竹杖，文人喜好用斑竹；斑竹有雅意，也叫湘妃竹，名字还有个美丽的故事。晋代张华《博物志》载：尧之二女，舜之二妃，曰湘夫人，帝崩，二妃啼，以涕挥竹，竹尽斑。\n斑竹为杖，自有渊源。白居易说：闲携斑竹杖，徐曳黄麻屦。元明时代的戏曲《荆钗记·启媒》里亦有：软红泥踏青时候，试蹑青鞋，慢拖斑竹，去寻良友。\n斑竹上的星星点点如星河，且每根竹材的星点大有不同，这些恐怕都是文人喜爱斑竹杖的原因。毕竟在传统的审美情趣里，常以新奇为美。\n以奇为美的追求，更能体现在藤杖的身上。\n关于藤杖的形容就有藤枝、老藤、枯藤、瘦藤、古藤、乌藤、青藤、红藤、朱藤、赤藤等，文人追求奇美，藤条的生长能更奇巧，因而极为适宜作为藤杖。\n譬如清初画圣王翚画像，即手持一枝奇怪的藤木杖，其杖头藤条宛延辗转，奇妙非常。古天一曾释出一件奇藤杖，与王翚的持杖对比，有异曲同工之妙。\n这些都是文人追求清奇的结果。\n他们热衷于奇辟之物。清新而奇妙的藤杖，在视觉上，从不同的角度观之，情趣迥异，可谓有“横看成岭侧成峰，远近高低各不同”的审美意味。\n换言之，古代文人寻求独特的杖，就像寻求一件文房、一件古董一样；他们不仅把杖当成工具，还把杖看作是文具。\n按理杖为老人所用，然而像苏轼、陆游、辛弃疾，在中青年时期即已杖在手中，可见杖与年龄并非天然相关。策杖，主要还是显示闲畅心境和作为一种生活习惯。",[24,114,118,30,61,7,64,117,502,579,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35474947d506ba3f20faf7c4c1b8f5a.jpg",[],{"id":35366,"slug":35367,"title":29380,"dynasty":223,"author":434,"museum":459,"description":6589,"tags":35368,"thumbUrl":35369,"material":808,"size":809,"collection":179,"collections":35370,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},234429,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234429",[24,202,923,28,29,61,62,7,591,1856,243,864,17248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34959effcbc2ab2bf732eecdca4a0cbc.jpg",[],{"id":35372,"slug":35373,"title":35374,"dynasty":223,"author":434,"museum":459,"description":35375,"tags":35376,"thumbUrl":35378,"material":179,"size":179,"collection":179,"collections":35379,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},234395,"yong-yan-wan-shou-tu-xiang-zhou-yi-ming-234395","颙琰万寿图像轴","此作工笔设色，细致铺陈万寿贺典全貌。朱金亭殿巍然，帝座安于殿中，阶下官员循品阶肃立排班，依礼朝贺。广场之上红衣仪卫整列侍立，中心香案陈放礼器，仪仗森然严整。苍松古木环衬左右，烘托出典礼的肃穆庄重。\n画作以精细笔触刻画朝服纹样与殿宇斗拱，配色沉稳雅致，既以纪实视角还原清代万寿庆典的森严仪制，又渲染出隆重威严的典仪氛围，尽显宫廷贺典的恢宏礼制与皇家气派。",[24,28,29,59,61,62,7,760,399,35377,1344],"庆典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03703001980ab8c3df0af610227c7755.jpg",[],{"id":35381,"slug":35382,"title":23692,"dynasty":223,"author":2792,"museum":20,"description":11887,"tags":35383,"thumbUrl":35384,"material":1218,"size":179,"collection":179,"collections":35385,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},234291,"ni-qian-ren-shi-yi-ce-wang-hui-234291",[152,24,25,385,114,118,30,7,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8eb828c42482c449e4eba12f66b9271.jpg",[],{"id":35387,"slug":35388,"title":35389,"dynasty":54,"author":4827,"museum":459,"description":35390,"tags":35391,"thumbUrl":35392,"material":179,"size":179,"collection":179,"collections":35393,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},234223,"du-qiong-meng-xuan-tang-tu-juan-du-qiong-234223","杜琼梦萱堂图卷","杜琼（1396~1474年），字用嘉，号东原，五坞山人,延绿亭主人,私谥渊孝先生.人称东原先生，南直隶苏州府吴县（今江苏苏州市）人。明朝文学家，书画家、藏书家，史学家。\n杜琼出身于富贵之家，自幼勤学聪颖，以孝闻名乡里，后师从陈继，并承其业，教书授徒。之后被举荐参与过《太宗（朱棣）实录》《宣宗实录》《舆地志》的修撰，并参与《苏郡志》的校定，备受朝廷礼遇和乡里尊宠，享誉遐迩。1474年，杜琼逝世，享年79岁。\n杜琼虽受朝廷礼遇和乡宠，但是他淡泊功名而醉于谈诗论画的隐居生活。其精于翰墨书画，尤以画山水为著，集众家之长而直追董巨，画风秀逸，是吴门派早期代表画家。\n其传世画作有《南村别墅图》《为吴宽作山水图》《友松图卷》等，此外还著有《东原集》《耕馀杂录》《纪善录》等诗文作品。",[23,24,25,26,114,30,118,119,120,153,116,7,243,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b3528e3fa7f667927b9d355b3593ba.jpg",[],{"id":35395,"slug":35396,"title":16135,"dynasty":133,"author":434,"museum":20,"description":16136,"tags":35397,"thumbUrl":35398,"material":13293,"size":16139,"collection":179,"collections":35399,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},234040,"jiang-shan-lou-ge-tu-zhou-yi-ming-234040",[24,152,202,59,114,30,62,117,7],"https:\u002F\u002Fos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（今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[152,24,25,437,114,29,118,117,7,156,579,6454,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e5aa785732da9a4f5ab32275a9bd7d.jpg","60.33x41.04厘米",[],{"id":35419,"slug":35420,"title":3901,"dynasty":223,"author":1431,"museum":20,"description":32557,"tags":35421,"thumbUrl":35422,"material":936,"size":32560,"collection":179,"collections":35423,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},233986,"shan-shui-ce-gong-xian-233986",[24,25,152,385,114,30,118,579,117,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4aae08324cd0f960517dcbc1d914c6.jpg",[],{"id":35425,"slug":35426,"title":35427,"dynasty":54,"author":55,"museum":20,"description":733,"tags":35428,"thumbUrl":35429,"material":40,"size":26582,"collection":179,"collections":35430,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},233756,"ren-wu-gu-shi-ce-3-chou-ying-233756","人物故事册3",[24,25,385,29,28,59,61,170,62,70,17723,806,173,592,117,7,1344,6763],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff262bebc3812167aef075a4e655f423e.jpg",[],{"id":35432,"slug":35433,"title":26459,"dynasty":223,"author":13789,"museum":20,"description":32578,"tags":35434,"thumbUrl":35435,"material":1218,"size":32581,"collection":179,"collections":35436,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},233441,"huang-shan-tu-ce-mei-qing-233441",[24,25,385,114,28,30,117,62,7,500,118,153,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcad87ebd9140b2f96032cf30f420971.jpg",[],{"id":35438,"slug":35439,"title":23095,"dynasty":133,"author":434,"museum":20,"description":35440,"tags":35441,"thumbUrl":35442,"material":100,"size":35443,"collection":179,"collections":35444,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},233180,"nong-cun-jia-nv-tu-juan-yi-ming-233180","此图原名《瘤女图》，后更名为《农村嫁女图》。全卷绘大小人物37人，分布疏密得当，自然形成四个段落，各段又有相对突出的重点人物的描写。首段以一骑牛披纱妇人为中心，众人目光多集于其身；次段是来宾与迎候者相见的场面，相对施礼的两位妇女为该段的中心；第三段表现两位身份较高的男性奉酒的场面；末段绘鼓乐、歌舞表演及围观者。各段虽有各自的主要人物，但次要人物的朝向、动作又使各段落间相互联系，构成一幅完整的画面。从画面表现的内容看，画的是否农村嫁女场面还有待商榷，图中吃奶的婴儿和扛于肩上的小童似与婚嫁主题不太相符，且骑牛女子似亦非新娘形象。笔者推测此图所表现的可能是一民女回乡省亲的场面，具体内容尚有待进一步考察。\n图中人物略施淡赭色，余则全以水墨为之。人物全用颤笔描加以表现，面部刻画也较为粗简，人物造型与南宋马远《踏歌图》有些相近之处。绘画艺术水平一般，但却生动地记录了宋元时期的现实生活场景。",[152,24,26,437,61,90,91,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa772f058d46d74fa4ba5a5d9ffc20222.jpg","纵22.5厘米，横131厘米",[],{"id":35446,"slug":35447,"title":3901,"dynasty":133,"author":5646,"museum":20,"description":28478,"tags":35448,"thumbUrl":35449,"material":1218,"size":28481,"collection":179,"collections":35450,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},233175,"shan-shui-ce-cao-zhi-bai-233175",[24,114,118,385,120,119,30,341,342,7,244,500,37,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1665cd980e58c01dcfcbc88ae1e167d9.jpg",[],{"id":35452,"slug":35453,"title":32593,"dynasty":223,"author":647,"museum":20,"description":24750,"tags":35454,"thumbUrl":35455,"material":23808,"size":32596,"collection":179,"collections":35456,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},233165,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233165",[24,25,385,114,28,118,153,30,117,7,116,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1f70d967f351069bf5cfca45a740c8.jpg",[],{"id":35458,"slug":35459,"title":32593,"dynasty":223,"author":647,"museum":20,"description":24750,"tags":35460,"thumbUrl":35461,"material":23808,"size":32596,"collection":179,"collections":35462,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},233163,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233163",[24,25,30,28,118,385,153,117,7,62,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf3bced4d258d91e38bfe06d9c3510f3.jpg",[],{"id":35464,"slug":35465,"title":35466,"dynasty":18,"author":434,"museum":20,"description":35467,"tags":35468,"thumbUrl":35469,"material":40,"size":35470,"collection":179,"collections":35471,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},233023,"pan-che-tu-zhou-yi-ming-233023","盘车图轴","图中装满货物的牛车正在艰难地向山上行进，货物已将车架压得有些变形。一只小狗出现在车轮旁，一边高声呼叫着通知客人的到来，一边左右奔跑，似欲助牛车一臂之力，画家将小狗热情急切的心态表露无遗，亲切动人。",[24,152,202,114,118,30,117,7,21527,35,207,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2182ca4fbc80c097427b56f3f9351c89.jpg","纵109厘米，横49.5厘米",[],{"id":35473,"slug":35474,"title":35475,"dynasty":18,"author":434,"museum":20,"description":35476,"tags":35477,"thumbUrl":35478,"material":373,"size":35479,"collection":179,"collections":35480,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},233018,"liu-yuan-xiao-shu-tu-ye-yi-ming-233018","柳院消暑图页","避暑是宋人夏季活动的一件大事。农历四月谓之初夏，五月初五是端午，端午过后，天气便炎热起来。宋代周密所著《武林旧事》是一部十卷本南宋杂史，详述了朝廷典礼﹑山川风俗﹑市肆经纪﹑四时节物﹑教坊乐部等情况﹐是了解南宋城市文化和市民生活的史料。其中就有对临安百姓入夏活动的记载：“盖入夏则游船不复入里湖，多占蒲深柳密宽凉之地，披襟钓水，月上始还。”描述了南宋夏季，人们不再着襦、袄，开始穿着单衫，服装质料上也以轻薄透气为主。\n此画描绘了士人在庭院中避暑纳凉的场景。院中柳树垂阴，古树掩映。画中一士人坐于室内赏景纳凉，其身后站有一双手持扇的仆僮。门前湖面宽阔，荷叶点缀其间，远山云雾变幻莫测。院侧十数株庭花盛开，绿草如茵，有一仆僮正捧盒而来。\n画中坐于室内的士人头戴小冠。“小冠”也称“束髻冠”，是一种束在髻上的发罩，多为皮制，形如手状。《宋书·五行志》曾记载：“晋末皆冠小冠，而衣裳博大，风流相仿，舆台成俗。”士人身穿大袖襕衫，腰间系带。襕衫是一种特别的长衫，其在衫的下裳处施有横襕，代表上衣下裳的含义。宋代时，襕衫常用白色细布，圆领大袖，下摆施以横襕，腰间有褶，为士人、进士、秀才服饰。《宋史·與服志》记载：“襕衫。以白细布为之，圆领大袖，下施横襕为裳，腰间有辟积。进士及国子生、州县生服之。”\n画中共有仆僮两人。士人身后持扇仆僮身穿小袖短衫，下身着长裤，腰间系带。院侧正捧盒归来的仆僮梳双丫髻，身穿小袖长衫，两侧开衩，内着中单，腰间系带，下着长裤，脚穿布鞋。长裤以透明的薄纱为面料，肌肤在薄纱下隐约可见。纱是最古老的丝织物之一，其是一种密度稀疏、轻薄、方孔的平纹织物。由于其轻盈、有孔的特点，通常用来制作夏季服饰。宋时，纺纱技术有了很大的发展，《宋史·地理志二》就有记载：“相州，……贡暗花牡丹花纱。”",[24,152,25,2895,28,29,61,528,62,30,70,7,411,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d30c2c6ab3d95c7805d55f6b76dc45.jpg","纵29厘米*横29.2厘米",[],{"id":35482,"slug":35483,"title":32735,"dynasty":18,"author":434,"museum":20,"description":35484,"tags":35485,"thumbUrl":35486,"material":40,"size":35487,"collection":179,"collections":35488,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},232996,"zhu-lin-bo-ruan-tu-ye-yi-ming-232996","此图绘溪边竹林下，三位文士，身着长袍，对坐于兽皮垫上。姿态各异，或拨阮，或凝听。\n旁有一童子侍候，一童子跪伏溪边汲水。\n图中人物生动传神，衣纹细劲流畅。衬景丛竹老树，疏密、远近、浓淡相间，错落有致。\n作者佚名。签题李唐作。\n按此图状人物甚工，但非李唐的作风。我们观李唐的《伯夷、叔齐采薇图》是那样的形象深刻，便显得此幅的纤弱了。故改题为无名氏作。",[24,25,385,28,120,29,1067,61,806,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1202ac649e222e9dd12763a3f720d050.jpg","纵22.7厘米，横24.5厘米",[],{"id":35490,"slug":35491,"title":35492,"dynasty":223,"author":35493,"museum":167,"description":35494,"tags":35495,"thumbUrl":35496,"material":179,"size":179,"collection":179,"collections":35497,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},232817,"luo-fu-shan-tu-dong-jiao-zeng-232817","罗浮山图","董教增","董教增（1750—1822）字益甫，江苏上元人，清朝大臣。乾隆四十五年，南巡，召试举人，授内阁中书。五十一年，成一甲三名进士，授编修，散馆改吏部主事，累迁郎中。二十五年，入觐，乞病未允，道光元年，乃得请归。二年，卒，赐恤，谥文恪\n嘉庆四年，以道员发四川，次年，授按察使。峨眉、雷波二厅铜铅各厂，毗连夷地。奸民与争界，焚夷巢，倮夷纠凉山生番为变，教增率兵往，议者多主剿，教增不可，廉得汉奸构衅者十一人，夷匪首事者六人，集众诛之，夷情帖然。仁宗以教增不烦兵力，而远夷心服，谕奖有加。寻调贵州。九年，迁四川布政使。十二年，擢安徽巡抚。宁国、池州、广德各属，旧有棚民，植杂粮为业。户部虑妨民田，议遣回籍。教增言：“棚民既立室家，难复迁徙。且所种多隙壤，於民田无损，於民食有益，第约束之而已。”从之。又言：“徽、宁等府巨室，向有世仆，出户已久，告讦频仍，请严杜妄讼，凡世仆以现在是否服役为断；其出户及百年者，虽有据亦开豁为良。”得旨允行，著为例。\n十五年，调陕西。兴安七属，旧食河东引盐。乾隆间，课摊地丁，其后复归商运。地介川、楚，土盐侵碍，运艰费重，引课多亏。教增请循凤翔例，改食花马池盐，引归民运，课按丁摊，以恤商力。又榆林、绥德、吴堡、米脂四州县，向食土盐，官给票销售。前抚方维甸请用部引，以二百斤为率，凡万一千三百馀引，民力难胜。教增规复其旧，由州县颁发小票，每票五十斤，民皆便之。时南山善后倚汉中知府严如熤，能尽其才，不拘文法，岁歉请赈，逾限破例，上陈得允。\n十八年，调广东。先是百龄锐意灭海寇，曾贻教增诗云：“岭南一事君堪羡，杀贼归来啖荔支。”既而张保仔就抚，教增报书曰：“诗应改一字为‘降’贼归来也。”百龄愧之；至是承其后，诸降人桀骜，为闾阎害，惩治甚力，然未尝妄杀。广州府有死囚，值赦减等改军而逃，获之，论重辟，按察使持之坚，教增以律不当死，龂龂与辩，此囚卒免死。\n二十二年，擢闽浙总督。先是海寇未平，禁商民造船高不得逾一丈八尺，小不任重载，难涉风涛，沿海多失业。教增以寇平已久，请免立禁限，以从民便，允之。福清武生林弥高者，健讼包粮，阻众不纳，邑令躬缉，为其党邀夺，官役并伤，令文武往捕获，弥高嗾其党劫持，通县抗徵。教增亲鞫得弥高罪状，立斩以徇，诸郡慴惧，强宗悍族抗欠者，皆输纳如额。奏入，诏嘉其能。临海民纠众殴差，致酿大狱。巡抚杨頀坐褫职，命教增兼权浙抚，鞫治之。漳、泉两郡多械斗杀人，官吏往往不能制。龙溪令姚莹捕渠魁五人，杖毙之。巡抚疑其违制，教增曰：“刑乱国宜用重典。”优容之，悍俗稍戢。张保仔就抚后，改名宝，官至澎湖副将，时论犹指斥。教增责令捕盗，奔走海上，盗平而宝亦死。",[24,25,152,27,28,118,30,243,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2d9360d61f7347b84fac5f007bac46c.jpg",[],{"id":35499,"slug":35500,"title":35501,"dynasty":223,"author":3826,"museum":167,"description":35502,"tags":35503,"thumbUrl":35504,"material":140,"size":35505,"collection":179,"collections":35506,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},232678,"qiu-shan-ping-yuan-tu-he-yi-232678","秋山平远图","此作用平远之法铺展秋景，近岸苍松虬劲，杂木以丹黄点染，将秋意揉进枝叶肌理，茅庐依水而居，野趣横生。平湖如镜，一舟独泛，载着闲逸随波漫行，汀渚蒹葭苍苍，晕开渺渺秋光。远景山峦轻笼烟霭，墨色澹宕清润，将秋山空寂辽远铺陈开来。\n\n画作以元人笔意写就，浅设色晕染出疏淡秋韵，配上行书题诗，书画相融，尽抒林泉幽栖的隐逸襟怀，把秋日郊野的萧散闲雅，晕成一卷可赏可居的诗意天地。",[24,25,202,28,30,118,120,153,115,116,7,117,500,674,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb042d680982c51c068e54818b5dddb47.jpg","99.4×48.3",[],{"id":35508,"slug":35509,"title":35510,"dynasty":223,"author":647,"museum":551,"description":27425,"tags":35511,"thumbUrl":35513,"material":360,"size":27428,"collection":179,"collections":35514,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},232676,"shan-shui-tu-lan-yan-shu-se-wang-yuan-qi-232676","山水图(岚烟树色)",[152,24,25,202,114,118,120,119,153,30,31,7,540,1665,117,37,35512],"岚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3ca722659548bd5b92cc3b10a0df4c.jpg",[],{"id":35516,"slug":35517,"title":35518,"dynasty":3235,"author":23862,"museum":459,"description":30496,"tags":35519,"thumbUrl":35521,"material":808,"size":809,"collection":179,"collections":35522,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},232582,"wei-lian-a-dao-fu-bu-ge-luo-196-wei-lian-a-dao-fu-bu-ge-luo-232582","威廉·阿道夫·布格罗196",[23865,3239,28,61,35520,3095,411,7,7532,8254],"婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06e96a69807e963527c89f3e916aa864.jpg",[],{"id":35524,"slug":35525,"title":35526,"dynasty":3235,"author":434,"museum":459,"description":35527,"tags":35528,"thumbUrl":35529,"material":808,"size":809,"collection":179,"collections":35530,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},231711,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-yan-li-si-juan-yi-ming-231711","镰仓时代 天狗草纸画卷-延历寺卷","此作以俯瞰视角铺展古寺林泉全景，绢面带着岁月皲裂的斑驳痕迹，更添沉静古意。朱红殿宇台基层叠规整，沉稳厚重的形制尽显伽蓝规制；列植如带的苍松环拥幽碧池沼，淡墨轻敷的山水晕染出清寂禅意。\n\n设色温润古雅，笔墨简淡清和，将禅寺建筑的庄重与山林的幽寂融为一体，题跋墨笔与画面相映，静静诉说旧时光里的伽蓝盛景，尽显中古园林与山水相融的清雅意境。",[23,24,25,26,28,59,30,7,62,70,3630,33,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537843f95b9ab1a20de5aec2668c5931.jpg",[],{"id":35532,"slug":35533,"title":35534,"dynasty":3235,"author":434,"museum":459,"description":35535,"tags":35536,"thumbUrl":35538,"material":808,"size":809,"collection":179,"collections":35539,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},231710,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-xing-fu-si-juan-yi-ming-231710","镰仓时代 天狗草纸画卷-兴福寺卷","以长卷铺陈三段意趣：左侧殿廷肃穆，武士执戈列阵，殿内贵人正襟；山间翠色里，天狗隐于林麓，流露幽异怪谈氛围。中段水岸清浅，灵鹿闲踱于滩涂，晕染出静谧禅意。末段殿宇层叠，万人攒动的朝会盛景繁而不乱。设色清雅古拙，线条细腻遒劲，将幽异轶闻与俗世仪典相融，带着古朴的和风叙事质感，尽显中古绘卷的悠长余韵。",[23,26,28,29,61,19594,35537,62,63,1855,3095,540,32,411,69,30,119,695,760,399,7],"贵族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5ff943224bbd2319aac4fc855c4db1.jpg",[],{"id":35541,"slug":35542,"title":35543,"dynasty":3235,"author":16915,"museum":459,"description":35544,"tags":35545,"thumbUrl":35547,"material":179,"size":179,"collection":179,"collections":35548,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},231672,"lu-ao-qi-sheng-tu-juan-chi-da-ya-231672","陆奥奇胜图卷","此作用淡墨晕染铺陈平远山水，汀渚山峦随卷舒展，留白托出氤氲水汽，空濛幽寂。点染的林木村居朴拙灵动，将胜景的清旷雅致尽数铺展。\n卷中配行书题跋，笔墨萧散率性，纪游文辞与山水意境相融相生，尽显文人雅趣。整卷以极简水墨，晕开东方山水的禅意侘寂，把漫游揽胜的闲情藏在尺幅长卷里，淡远空灵，是诗书画一体的文人佳构。",[23,35546,912,114,28,26,118,119,153,30,341,342,115,156,116,7,62,37,63],"南画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f2e4305253da5ba56be20454445e88.jpg",[],{"id":35550,"slug":35551,"title":35552,"dynasty":3235,"author":35553,"museum":459,"description":35554,"tags":35555,"thumbUrl":35556,"material":808,"size":809,"collection":179,"collections":35557,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},231660,"ri-da-zheng-nian-jin-jiang-ba-jing-jin-cun-zi-hong-231660","日大正年 近江八景","今村紫红","今村四光（Shiko Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,28,118,24,30,1080,37,33,7,156,2057,16071],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F084e35ef2972f17e1b2ae1b40e797869.jpg",[],{"id":35559,"slug":35560,"title":35561,"dynasty":3235,"author":35562,"museum":459,"description":35563,"tags":35564,"thumbUrl":35566,"material":808,"size":809,"collection":179,"collections":35567,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},231648,"yan-nan-qu-tu-zhou-chun-zhang-231648","雁南去图轴","春章","淡赭晕开江天暮色，冷月悬于低空，阵雁振翅南去，把秋意揉进流云里。草舍阶前，女子以袖拭泪，将别情藏在颦蹙之间；青衫男子席地静坐，执箸无言，满室怅惘随着晚风漫过竹帘。岸侧丹枫缀着残红，把萧索融进依依别绪。\n\n整作设色柔雅清润，线条秀逸温婉，将羁旅离别的缱绻愁思，融在江村秋夜的冷寂图景中。雁影渐远，愁味悠长，淡而不散的别意随着暮色漫开，余韵悠悠。",[24,25,202,28,29,61,156,358,7,2316,35565,70,175],"草席","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87597ec94c9796e19b45ef00072964db.jpg",[],{"id":35569,"slug":35570,"title":35571,"dynasty":3235,"author":30533,"museum":459,"description":30534,"tags":35572,"thumbUrl":35573,"material":808,"size":809,"collection":179,"collections":35574,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},231628,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-zhong-tu-zuo-guang-xin-231628","室町时代 清水寺缘起画卷(中)",[28,29,26,59,119,923,61,62,63,64,7,70,91,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a580c0d510cd600e0c22b55140b7c.jpg",[],{"id":35576,"slug":35577,"title":35578,"dynasty":3235,"author":29887,"museum":459,"description":32655,"tags":35579,"thumbUrl":35580,"material":808,"size":809,"collection":179,"collections":35581,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},231622,"shi-ting-shi-dai-zu-shi-da-man-song-da-zhi-tu-zhou-shou-ye-yuan-xin-231622","室町时代 祖师大满送大智图轴",[23,24,25,202,114,28,30,61,115,63,64,7,117,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2410f5a3214a93e64d7edcf5771d2a8b.jpg",[],{"id":35583,"slug":35584,"title":380,"dynasty":223,"author":3826,"museum":459,"description":35585,"tags":35586,"thumbUrl":35587,"material":179,"size":179,"collection":179,"collections":35588,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},230917,"shan-shui-tu-ce-he-yi-230917","此作用笔简净萧散，以干淡笔墨铺陈丘林野趣。近岸巨石皴擦苍劲，双木虬曲错落，枝叶点染疏朗，暗含生趣。水畔茅庐隐于浅坡，野意自生。远景山峦以淡墨晕染留白，虚写水光天色，虚实相生间烘托出林泉幽寂之致。\n题诗与画面相映成趣，文气雅致，取法元人山水意韵，寄寓幽居丘壑、寄情林泉的出世襟怀，简淡笔墨里藏着静穆悠长的林下高致。",[24,25,385,114,118,30,117,7,358,500,1474,1665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f41a79372429712d774f2e0b1e78d5.jpg",[],{"id":35590,"slug":35591,"title":35592,"dynasty":223,"author":434,"museum":459,"description":35593,"tags":35594,"thumbUrl":35595,"material":808,"size":809,"collection":179,"collections":35596,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},230338,"bai-miao-tu-miao-man-tu-shuo-wu-yi-ming-230338","百苗图苗蛮图说（五)","柳丝轻曳、桃枝泛红，将春日柔色晕染在茅舍小院旁。画里的苗家日常鲜活又温热：挎篮的妇人正将汤水递予怀抱着幼童的丈夫，小女儿拽着父亲衣袍娇憨讨要关注，老翁倚在门扉含笑，看稚童攥着短笛信口吹奏。\n\n淡彩细笔勾勒出屋舍篱栅的朴拙，线条柔和地晕开烟火暖意，没有浓艳着色与繁复技法，只将边陲村寨的天伦之趣静静铺展。山野乡居松弛的日常瞬间被定格，把苗家质朴鲜活的烟火温情永远留存，满是平实动人的乡野诗意。",[24,25,28,29,385,61,35,528,154,63,1170,17456,5371,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf044c3bfaf9ae0247bb3d2c75c34de2.jpg",[],{"id":35598,"slug":35599,"title":13731,"dynasty":223,"author":647,"museum":459,"description":35600,"tags":35601,"thumbUrl":35602,"material":179,"size":179,"collection":179,"collections":35603,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},229030,"shan-shui-ce-ye-wang-yuan-qi-229030","此作以干渴焦墨反复皴擦堆叠山峦，笔力苍劲老辣，层层铺陈出浑厚华滋的质感，尽显山水苍莽深秀之态。近岸汀渚错落，虬曲杂木丛生，简笔点染枝叶，意态萧疏古雅。山坳间村舍隐于林木烟岚，晕开幽居野逸的闲趣。\n\n远景山峦逶迤，墨色由浓转淡，虚实相生间晕染出空濛悠远的意境。以书法意趣入画，笔墨裹挟沉静书卷气，层层皴染尽显山川厚重雄浑，将自然苍朴与文人意趣相融，静穆里藏着蓬勃生机，尽显传统山水的笔墨风骨与幽深远阔的林下襟怀。",[152,24,25,385,114,118,30,117,7,64,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad840bb8afc0736f39b85cebaefd8955.jpg",[],{"id":35605,"slug":35606,"title":35607,"dynasty":223,"author":35608,"museum":459,"description":35609,"tags":35610,"thumbUrl":35611,"material":179,"size":179,"collection":179,"collections":35612,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},228974,"si-ji-shan-shui-ping-ming-jian-228974","四季山水屏","明俭","此作用浅绛写就冬山雪景，以大面积留白与淡墨晕染表现峰峦积雪，浓墨勾勒崖壁轮廓，将冰雪覆山的清寒孤高尽显无余。\n\n枯松劲柏层叠错落，枝桠利落苍郁，暗写雪压枝头的沉凝质感。山坳间古寺浮屠隐于林木中，朱红屋舍素白雪景相映，冷寂里晕开一抹烟火暖意。溪谷浅滩以白代雪，水坝板桥藏于雪色间，于静谧中暗涌生机。\n\n整画仿戴进雪岭笔意，兼得浙派山水刚劲构图，又融入禅意冲淡萧散的气韵，将冬日空山的冷寂与古刹温煦相融，尽显雪后山林清旷安闲之境，笔墨清雅意趣悠长。",[23,24,25,202,114,28,30,62,7,117,488,747,63,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec019cf1cea1eb3808798ea50b60410.jpg",[],{"id":35614,"slug":35615,"title":35616,"dynasty":54,"author":20212,"museum":459,"description":27965,"tags":35617,"thumbUrl":35618,"material":808,"size":809,"collection":179,"collections":35619,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},228463,"song-ting-gao-yi-tu-qian-gu-228463","松亭高逸图",[23,152,24,25,2895,28,118,30,761,116,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe165198908dffca33a1454536263b0a.jpg",[],{"id":35621,"slug":35622,"title":16273,"dynasty":54,"author":5851,"museum":459,"description":35623,"tags":35624,"thumbUrl":35625,"material":179,"size":179,"collection":179,"collections":35626,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":128},228398,"chi-bi-sheng-you-tu-zhu-yun-ming-228398","首段山水小景澹然悠远，江岸林峦苍润秀雅，晕染出赤壁夜游的清寂夜色。后接长篇书作，开篇行书秀逸灵动，笔锋舒卷间尽显从容；后段转为大草，纵横跌宕，墨色浓枯变幻强烈，将苏子赤壁怀古的旷达沉醉尽数抒发。笔墨随着文辞意境流转，文心与书意交融无间，把赤壁夜游的幽远意趣铺展于卷上，尽显吴门书家的放逸才情，让观者漫游翰墨山水间，重临其境感受千古名篇的悠然况味。",[23,152,24,25,26,120,119,114,28,30,115,7,64,63,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94288a4f33978c648f5941eb7a2c2bc4.jpg",[],{"id":35628,"slug":35629,"title":26436,"dynasty":54,"author":11919,"museum":459,"description":35630,"tags":35631,"thumbUrl":35632,"material":179,"size":179,"collection":179,"collections":35633,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},228337,"yin-bao-jie-shan-tu-zhou-wang-wen-228337","《隐宝界山图》是明朝王问所作名画，此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生于1949年购于广州。\n1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。\n画心左上自题：“宝界山，余读易庐在焉。\n嘉靖戊申始得辞岭南之命，寄傲其间，静志远交，可以寡过矣。\n诗曰：荒山雨雪暮寒时，碧树临湖橘柚垂。\n归棹复寻渔径入，幽居更向谷云移。\n鲈如张翰思偏早，酒为渊明酿已迟。\n木石久谙麇鹿性，野人相见莫相疑。\n仲山王问写并书。\n”钤“王问之印”、“进士”等印。\n据此图题跋，可知所画是王问在嘉靖戊申年（二十七年，1548年）隐居无锡宝界山读书时的情景，为画家5岁时所作。\n鉴赏印钤“石渠宝笈”、“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等印。\n画幅右下钤“无事对青山”白方印，左下钤“闲溪陈氏玉阶珍藏”朱长方印。\n画中所绘当为宝界山实景。\n筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。\n画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。\n用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。\n王问之作传世不多，得此盛年鼎绝作品实为不易。",[23,24,202,30,114,118,62,115,64,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8002608845fa1f1fb6a6f63a76f2c409.jpg",[],{"id":35635,"slug":35636,"title":35637,"dynasty":133,"author":434,"museum":459,"description":35638,"tags":35639,"thumbUrl":35640,"material":179,"size":179,"collection":17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Railway Bridge at Argenteuil, 1874",[152,3239,7526,7527,7528,7661,34110,32,1288,7,411,9952,5404,36,7420,1446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc123b1d63ae667c737349ac39a9cb24.jpg",[3244],{"id":35674,"slug":35675,"title":35676,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":35677,"thumbUrl":35679,"material":808,"size":809,"collection":3244,"collections":35680,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},225871,"vue-de-lasile-et-de-la-chapelle-de-saint-re-my-fan-gao-225871","Vue de lasile et de la Chapelle de Saint Rémy",[3239,6957,7661,3240,3148,23113,7,69,5404,6958,35678],"麦浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91b227fc97dc3321ad4d31bcc210024.jpg",[3244],{"id":35682,"slug":35683,"title":35684,"dynasty":3235,"author":3236,"museum":459,"description":3237,"tags":35685,"thumbUrl":35687,"material":808,"size":809,"collection":3244,"collections":35688,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},225843,"the-garden-of-saint-paul-s-hospital-december-fan-gao-225843","The garden of Saint Paul's Hospital (December - 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任上。\n元文宗至顺二年（1331年），追赠张养浩摅诚宣惠功臣、荣禄大夫、陕西等处行中书省平章政事、柱国，追封滨国公、礼部侍郎、礼部尚书、中书省参知政事，谥文忠。尊称为张文忠公。\n张养浩是元代重要的政治、文化人物，其个人品行、政事文章皆为当代及后世称扬，是元代名臣之一。与清河元明善，汶上曹元用并称为“三俊”。代表作品有《三事忠告》，散曲《山坡羊·潼关怀古》等",[2406,24,2895,114,30,7,156,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8ee047d04f9a86865071923ef918c5.jpg",[],{"id":36252,"slug":36253,"title":24417,"dynasty":223,"author":11241,"museum":459,"description":36254,"tags":36255,"thumbUrl":36256,"material":179,"size":179,"collection":179,"collections":36257,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},238905,"fang-song-yuan-shan-shui-ce-dong-gao-238905","此作以开合之境铺展幽居秋意，近岸木板桥连汀渚，杂树点染蓝、朱异色，晕开清秋绚烂意趣。山岩以干笔皴擦，苍浑朴厚，崖畔山居隐于林木间，飞瀑穿石下注溪涧，野趣悠然自生。溪流转折间，视线渐引向远江，白帆轻曳，淡墨平峦横卧天际，虚实相生中，将山野幽寂与江天旷远相融。浅绛设色温润雅致，笔墨兼具苍秀与清润，暗合山水简淡意韵，以鲜活点彩衬出秋光明丽，尽显林下幽居的静穆清旷，仿若可神游其间，坐览林泉烟霞，品味山居闲逸。",[24,25,385,28,118,30,63,64,115,7,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b8bc09fe2e7559af2d3a86f3149bc3.jpg",[],{"id":36259,"slug":36260,"title":11983,"dynasty":223,"author":434,"museum":459,"description":36261,"tags":36262,"thumbUrl":36263,"material":179,"size":179,"collection":179,"collections":36264,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},238813,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238813","此作以两段取景铺展早春江村之景。上段平岸柳林如烟，柔丝垂拂春水，堤畔策驴缓行，野意悠然。下段汀渚垂柳掩映，江帆停驻，舟头闲坐之人似在低语，漫溢松弛闲适。\n\n笔触秀润清雅，柳丝细毫勾勒，晕染出笼烟含翠之姿，水面以淡墨轻晕留白，漾出空濛春水的软润质感。全幅设色浅淡明净，舍去繁复皴擦，以简淡之笔写尽融融春意，将江南早春的慵懒恬和融于尺幅，尽显寄情丘山的文人雅趣，将春日江乡的闲淡之韵缓缓铺陈。",[24,25,385,28,114,30,7,1288,61,90,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e9febcffb28fdf6aed328df824ef02.jpg",[],{"id":36266,"slug":36267,"title":11983,"dynasty":223,"author":434,"museum":459,"description":36268,"tags":36269,"thumbUrl":36270,"material":179,"size":179,"collection":179,"collections":36271,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},238812,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238812","此作以近松远水铺展山居景致，近岸苍松盘虬，黛色松针层叠如盖，浓淡点染见出葱郁生机。中景溪湾环抱着错落村居，板桥横架浅滩，有人凭栏远眺，三两屋舍隐在林麓间，烟火气暗融在清寂山水中。远景山峦以淡墨皴擦，晕染出层叠悠远的朦胧意态，留白处铺就浩渺水色，衬出空阔天光。\n\n全作用笔秀雅柔和，淡赭轻敷衬出山峦暖意，笔墨兼具工致与写意，将江南乡野的幽宁闲逸娓娓铺陈，尽显春日溪村的清和安谧，藏着文人向往的林泉雅意。",[24,25,385,30,28,118,63,64,7,117,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa087eeba28a0cc157854521c9b6613fb.jpg",[],{"id":36273,"slug":36274,"title":20194,"dynasty":223,"author":2985,"museum":459,"description":36275,"tags":36276,"thumbUrl":36277,"material":179,"size":179,"collection":179,"collections":36278,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},238745,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238745","此作以左实右虚铺陈画面，左侧山林层叠，山石以干笔皴擦出苍厚质感，古松虬枝遒劲，松下士人凭高远眺，尽显林泉雅逸之致。留白远山晕染空蒙，让画面虚实相生，意境幽寂淡远。\n\n右侧题诗与山水呼应，诗画合璧，将寻幽访胜的雅趣藏于笔墨间。笔墨苍秀清润，既有院体画的精细工整，又不失文人山水画的写意空灵，将行旅游赏的悠然意绪融于山水丘壑之间，尽显沉静内敛的古典文人审美意趣。",[24,25,385,114,118,30,7,243,61,1044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f3143fbd8f1124290c656104be3ee8a.jpg",[],{"id":36280,"slug":36281,"title":14811,"dynasty":223,"author":2985,"museum":459,"description":36282,"tags":36283,"thumbUrl":36284,"material":179,"size":179,"collection":179,"collections":36285,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},238731,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238731","此作用淡墨铺展平远江色，阔大水面分隔两岸景致，左上峰峦简淡空灵，左下城楼民居错落，尽揽市井烟火意趣，右上林麓掩映山居，漾出幽远静谧。画心扁舟待发，舟中二人对坐，暗合临水送别诗意。\n\n笔墨温润秀雅，以细腻皴擦晕染空濛江雾，将离情藏于烟波林峦间，实景风物与别绪相融，把友人惜别之际的怅惘融敛在清和山水里，诗画浑然相合，淡雅间别绪悠悠扑面而来。",[24,114,30,385,118,62,115,61,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958c072919c1eeedde6df22cf7a3e6f4.jpg",[],{"id":36287,"slug":36288,"title":14811,"dynasty":223,"author":2985,"museum":459,"description":36289,"tags":36290,"thumbUrl":36291,"material":179,"size":179,"collection":179,"collections":36292,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},238728,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238728","此作用水墨绘就秋江行旅之景，两岸层峦以干笔勾勒皴擦，线条苍劲朴拙，枯木萧疏错落在峰谷之间，尽染清寂秋意。江水蜿蜒波涌，行舟随浪浮沉，舟中士人凭舷远眺，艄公持篙摇橹，人物情态悠然自适。\n\n画作以诗配景，将乘江览胜的雅思具象化，笔意简淡清旷，把文人心底的隐逸闲情寄寓在山水行旅之间，诗画交融，尽显传统文人画的清雅格调，将题咏里的山水雅游意趣尽显纸上。",[24,25,385,114,437,118,119,153,30,115,61,64,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34364f3565e710fda0b1cedb1674b796.jpg",[],{"id":36294,"slug":36295,"title":14811,"dynasty":223,"author":2985,"museum":459,"description":36296,"tags":36297,"thumbUrl":36298,"material":179,"size":179,"collection":179,"collections":36299,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},238727,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238727","此作用平远之法铺陈景致，淡墨晕开烟水，远山以枯笔轻皴，苍润相融，尽现江天色空濛之态。左岸柳色如烟，掩映深宅，右岸苍松怪石环伺茅庐，士人凭窗静坐，似在追和诗意。\n\n笔墨清简秀雅，以画释意，将幽居寄怀的文人情思藏进一水一木之间，诗画相生，恬然静穆的林下雅趣扑面而来，尽显传统文人画诗画合璧的隽永意境。",[24,114,118,385,30,116,115,7,35,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ba1e2918521410f628e893afd81d73.jpg",[],{"id":36301,"slug":36302,"title":14811,"dynasty":223,"author":2985,"museum":459,"description":36303,"tags":36304,"thumbUrl":36305,"material":179,"size":179,"collection":179,"colle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诗意藏于空灵构图间，笔墨清简却意韵悠长，在清寂萧疏里铺展出文人画的雅逸风神，淡而弥永，余韵悠然。",[24,114,28,30,116,289,7,153,385,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a5edcea1bcd047ada5d045b3d24882.jpg",[],{"id":36827,"slug":36828,"title":19226,"dynasty":223,"author":19227,"museum":459,"description":19228,"tags":36829,"thumbUrl":36830,"material":808,"size":809,"collection":179,"collections":36831,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},235542,"xi-xiang-tu-ce-ye-bu-235542",[24,25,385,28,29,61,170,62,7,591,117,120,153,6118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29fedcade360c398b9259cc54d772697.jpg",[],{"id":36833,"slug":36834,"title":19226,"dynasty":223,"author":19227,"museum":459,"description":19228,"tags":36835,"thumbUrl":36836,"material":808,"size":809,"collection":179,"collections":36837,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},235540,"xi-xiang-tu-ce-ye-bu-235540",[24,25,385,29,28,61,62,170,153,119,1621,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e7e0415f758f4b93065e92ef3c0652.jpg",[],{"id":36839,"slug":36840,"title":3901,"dynasty":223,"author":32425,"museum":459,"description":36841,"tags":36842,"thumbUrl":36843,"material":179,"size":179,"collection":179,"collections":36844,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},235328,"shan-shui-ce-wen-dian-235328","此作用干笔淡墨铺就，前景坡岸间几株古木姿态舒展，苔点晕染出坡地清润意趣，策杖文人缓步林麓，似正沉醉秋光。远景以淡墨轻岚晕出朦胧丘壑，留白悠远空灵。左上角题诗与画意相融，笔墨秀雅松灵，未施浓彩，尽显清寂淡远的文人意趣。将秋日郊野闲游的幽恬心境藏于极简勾勒间，静穆萧散的林下之风溢于笔底，把江南秋郊的清旷诗意融在疏淡皴染中，观之如临其境，可感画中寄情林泉的雅人襟怀。",[24,25,385,114,118,30,7,63,64,61,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc131e210096ca435812d8704a61fcec4.jpg",[],{"id":36846,"slug":36847,"title":20821,"dynasty":54,"author":434,"museum":459,"description":36848,"tags":36849,"thumbUrl":36850,"material":179,"size":179,"collection":179,"collections":36851,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},235313,"ju-jie-shan-shui-zhou-yi-ming-235313","此作用狭长立轴铺展秋山幽居，层峦次第延展，林麓间错落山居茅舍，飞泉隐于岩岫，溪谷萦回。以干笔淡墨皴写山峦，披麻皴晕出山岩苍润肌理，林木虬劲舒展，点叶苍秀，遍染萧寂秋意。\n\n板桥之上二雅士凭栏低语，衬出林泉高致，笔墨间带着吴门画派的隐逸意趣，淡远冲和的气息漫溢全幅，将山居幽寂与文人情致相融，尽显林下风流。",[24,25,202,114,118,30,63,64,116,7,117,61,204,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2711e04f3e46342e03aa2539dd6fc223.jpg",[],{"id":36853,"slug":36854,"title":3901,"dynasty":54,"author":16399,"museum":459,"description":16400,"tags":36855,"thumbUrl":36856,"material":808,"size":809,"collection":179,"collections":36857,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},235290,"shan-shui-ce-shen-hao-235290",[24,25,385,114,28,118,30,117,7,63,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eb555c58fbbde8e400dadbfb758b6f7.jpg",[],{"id":36859,"slug":36860,"title":1178,"dynasty":54,"author":15480,"museum":459,"description":36861,"tags":36862,"thumbUrl":36863,"material":808,"size":809,"collection":179,"collections":36864,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},235231,"shan-shui-zhou-wang-duo-235231","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。",[24,25,202,114,118,30,62,7,204,117,502,116,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb0baf1c08c4f146eaa493945e657538.jpg",[],{"id":36866,"slug":36867,"title":3901,"dynasty":54,"author":11101,"museum":459,"description":36868,"tags":36869,"thumbUrl":36870,"material":179,"size":179,"collection":179,"collections":36871,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},235148,"shan-shui-ce-li-liu-fang-235148","此作用淡墨晕染秋山平湖，主峰以披麻皴写就，苔点错落，苍朴浑厚尽显山石肌理。岸上古木虬曲，浓墨点叶，明暗间漾着清寂生机。平湖扁舟轻泛，舟中高士凭舷远眺，寥寥数笔便勾勒出林下幽居的散淡意趣。\n右上角题字清雅隽秀，与笔墨山水相映成趣。整体画风简淡萧散，以笔意寄寓文人放怀林泉的雅逸襟怀，将实景山水与悠悠文思相融，淡而韵长，简而意足，把寄情山水的林下风雅藏在每一处勾勒晕染之中。",[24,25,385,114,118,30,115,64,7,117,34,61,15198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d3bad1153dcc39c63479de92841051.jpg",[],{"id":36873,"slug":36874,"title":35210,"dynasty":223,"author":17730,"museum":459,"description":36875,"tags":36876,"thumbUrl":36877,"material":179,"size":179,"collection":179,"collections":36878,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},235097,"zheng-min-shan-shui-ce-zheng-min-235097","此作用淡墨勾勒皴染山峦，简率笔致铺就出山川疏淡荒寒之态，山间苍松错落隐现，寥寥数笔便烘托出幽寂空蒙的林泉之境，尽显简淡清逸的典型风貌。\n\n左侧题笔萧散隽雅，诗文与画境两相呼应，寄寓着寄情丘壑、超尘出俗的隐逸襟怀。整幅作品以简驭繁，净洁雅素，以笔墨写尽林泉幽致，将山水静穆与文人幽怀融为一体，淡远空灵，余韵悠长，是清代文人山水画中极具代表性的清逸之作。",[24,25,385,114,118,30,289,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdd385a39e368a353355424531a3bc0d.jpg",[],{"id":36880,"slug":36881,"title":380,"dynasty":223,"author":3836,"museum":459,"description":36882,"tags":36883,"thumbUrl":36884,"material":179,"size":179,"collection":179,"collections":36885,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},235079,"shan-shui-tu-ce-hua-yan-235079","此作取平远小景，几株清松瘦劲挺拔，荫蔽茅舍矮篱，空庭静立，浅坡覆着细草，淡墨晕染出幽寂的秋日郊野。笔致松秀简淡，以干笔轻皴，略施淡墨晕染，全然舍去浓丽设色，只以素净笔墨勾勒出萧散清旷的意境。左侧题诗与画境相合，诗画共生，将幽居的闲静隐逸融入山水之间。整体无繁复铺陈，于极简布景中尽显文人画淡泊清远的意趣，淡而有味，简中见深，把寄情丘壑的隐逸心境铺陈在尺幅之中，是意韵悠长的山水小品佳作。",[24,25,385,114,437,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size":179,"collection":179,"collections":36952,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},234824,"zhu-jia-shu-hua-he-bi-ce-shan-shui-ye-wang-yuan-qi-234824","诸家书画合璧册-山水页","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」见《清史稿》、秦祖永《恫荫论画》。",[24,25,385,114,118,30,7,117,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e34c985b5fdde12bbbe44a7d1f7cc76.jpg",[],{"id":36954,"slug":36955,"title":3901,"dynasty":223,"author":2985,"museum":20,"description":32459,"tags":36956,"thumbUrl":36957,"material":179,"size":179,"collection":179,"collections":36958,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},234792,"shan-shui-ce-dong-bang-da-234792",[24,25,385,114,118,30,341,342,7,37,244,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F236be7196d6ef9cf365f8f88faac5787.jpg",[],{"id":36960,"slug":36961,"title":3901,"dynasty":223,"author":2985,"museum":20,"description":32459,"tags":36962,"thumbUrl":36963,"material":179,"size":179,"collection":179,"collections":36964,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},234791,"shan-shui-ce-dong-bang-da-234791",[24,25,385,114,118,30,7,117,69,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ba032f281aa2dfe8ed77840abee872.jpg",[],{"id":36966,"slug":36967,"title":26459,"dynasty":223,"author":26460,"museum":20,"description":26461,"tags":36968,"thumbUrl":36969,"material":1218,"size":179,"collection":179,"collections":36970,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},234741,"huang-shan-tu-ce-jiang-zhu-234741",[24,25,385,114,30,117,289,37,7,118,119,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe579d6f706c66a4b60473f1fa9f408e1.jpg",[],{"id":36972,"slug":36973,"title":26459,"dynasty":223,"author":26460,"museum":20,"description":26461,"tags":36974,"thumbUrl":36975,"material":1218,"size":179,"collection":179,"collections":36976,"showCount":631,"zanCount":928,"manualWeight":48,"mainColor":128},234738,"huang-shan-tu-ce-jiang-zhu-234738",[565,152,24,25,385,28,118,30,246,117,7,37,540,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b06e15593f0c0b799413b461de64ee3.jpg",[],{"id":36978,"slug":36979,"title":36980,"dynasty":223,"author":33762,"museum":459,"description":36981,"tags":36982,"thumbUrl":36983,"material":179,"size":179,"collection":179,"collections":36984,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},234618,"gu-yun-shan-shui-wan-shan-gu-yun-234618","顾沄山水纨扇","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。\n顾沄少有丹青之志。片纸尺缣，遇画辄研写不已，时常州、娄东、虞山画风鼎盛，沄深谙山水经营布置之法，画名渐起，遂往上海鬻画。上海乃商贾云集之东南都会，乾嘉时已与维扬、姑苏、宁波等城市同为鬻画之胜地。五口通商，中外资本汇聚，富庶繁华更胜苏、扬。商人风雅，各有所好，便有了各路画家一展伸手之空间。时称“三熊四任”的任渭长、任阜长、任伯年、任立凡、张子祥、朱梦泉以及朱梦庐、胡公寿、虚谷、赵之谦、王秋言、蒲作英、钱慧安、吴昌硕、吴石仙、陆廉夫、倪墨耕、吴观岱等周边画家，先后前往上海发展，遂有海上画派之兴起。沄一生恪守有清以来之正统画风，功力深厚，倒也在新风阵阵之沪上知音多多，以“泽古功深，集四王吴恽诸家之长”独树一帜。光绪十四年（1888）尝北赴京畿，与诸士大夫游，又于同年东游扶桑。画名远播（光绪十四年(1888)游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。\n工山水，由“四王吴恽”入手，上探元、明诸家。墨法明润秀雅，笔意疏古清丽，吴侬软语，浅斟低唱，得柔美之致，乏遒劲之气。间有水墨直师王蒙、小青绿逼似文徵明者，功力之深厚，时罕其俦。",[2895,24,25,114,30,243,7,1705,206,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca4994401fb16ac9e2544d919f1d424.jpg",[],{"id":36986,"slug":36987,"title":20917,"dynasty":223,"author":36988,"museum":20,"description":36989,"tags":36990,"thumbUrl":36991,"material":179,"size":179,"collection":179,"collections":36992,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},234475,"shan-shui-shan-ye-fa-ruo-zhen-234475","法若真","法若真（1613～1696），字汉儒，号黄山，亦号黄石、黄山衲、小珠山人、黄山真衲、黄山逸史，山东胶州（今胶县）人。顺治二年以五经特赐中式，授中书舍人。顺治三年进士，改庶吉士，官至安徽布政使。康熙十八年举博学鸿词。工诗古文、善书画。画山水有高雅之灵气，偶然涉笔，潇洒拔俗，自成一格。书法魏晋而有士气，精擎窠大书，行草运笔灵动。",[24,2895,30,118,117,7,206,500,1300,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab51819e1f6bef1b82bccf448947b07.jpg",[],{"id":36994,"slug":36995,"title":36996,"dynasty":18,"author":434,"museum":20,"description":34288,"tags":36997,"thumbUrl":36998,"material":415,"size":36999,"collection":179,"collections":37000,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},234038,"si-lun-tu-zhou-yi-ming-234038","丝纶图轴",[24,25,202,114,28,118,119,120,30,7,540,35,61,502,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc447fe7cf03f1038a72f049cc5ebbc4f.jpg","纵83.2厘米 横37.5厘米",[],{"id":37002,"slug":37003,"title":21612,"dynasty":223,"author":16817,"museum":20,"description":21613,"tags":37004,"thumbUrl":37005,"material":1218,"size":21616,"collection":179,"collections":37006,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},233939,"dai-lu-fang-bei-tu-ce-huang-yi-233939",[24,25,385,28,30,7,117,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a10698e488202bbfa584e88cb89335.jpg",[],{"id":37008,"slug":37009,"title":37010,"dynasty":223,"author":37011,"museum":20,"description":37012,"tags":37013,"thumbUrl":37014,"material":360,"size":179,"collection":179,"collections":37015,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},233150,"cheng-zhao-xiong-xiang-zhou-ding-gao-233150","程兆熊像轴","丁皋","寓居扬州的丁皋，主要以给官贾写真为生，其中不乏佳作。最典型的是现藏于故宫博物院的《桐华庵主三十六岁小 像》。此图画于乾隆十八年(1753)，为程兆熊写真图。程兆熊(1717—1764)是扬州当时的文化名流，其字孟飞，号香南，工诗词，书画俱佳。乾隆 时寓居扬州仪征桐华庵，故号桐华庵主。李斗《扬州画舫录》中对其评道：“扬州名园甲第、榜署屏障，金石碑版之文，皆赖之。”丁皋画的程兆熊像所占幅面很 小，但眉目神情，生动细腻。此图以生宣入画，更觉“运思落墨，均臻神妙”。画中背景则由当时扬州名画家黄溱、华嵒合作完成。",[24,25,202,28,29,59,114,61,7,244,70,69,411,695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d8cd75563d88afb2a56c5d1d038a93.jpg",[],{"id":37017,"slug":37018,"title":14224,"dynasty":223,"author":434,"museum":20,"description":29480,"tags":37019,"thumbUrl":37020,"material":360,"size":14230,"collection":179,"collections":37021,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},233095,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233095",[24,25,385,28,29,61,30,28496,117,7,38,28148,1044,33905,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434b37f84590d7aa59c39313089e5f3e.jpg",[],{"id":37023,"slug":37024,"title":37025,"dynasty":223,"author":1167,"museum":20,"description":37026,"tags":37027,"thumbUrl":37033,"material":1218,"size":37034,"collection":179,"collections":37035,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},232891,"yan-ju-luo-han-xiang-zhou-jin-ting-biao-232891","岩居罗汉像轴","图中罗汉眉目清秀，披发，戴耳环，臂腕佩钏、镯，着袒右式袈裟，自在坐，手捧如意，系模仿了菩萨的形象。罗汉、童子衣纹分别运用了蚯蚓纹、钉头鼠尾描，造型工整，设色清雅。《秘殿珠林三编》著录。",[23,24,28,29,923,61,30,289,7,244,153,37028,37029,206,5492,5815,37030,37031,26260,37032,28531,202],"侍童","袈裟","苔草","腕钏","小和尚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc582b7bb574e8613ec65f5335044ec6a.jpg","纵99.5厘米，横53.2厘米",[],{"id":37037,"slug":37038,"title":37039,"dynasty":3235,"author":434,"museum":459,"description":37040,"tags":37041,"thumbUrl":37042,"material":808,"size":809,"collection":179,"collections":37043,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},231776,"liu-qiu-feng-su-tu-juan-er-yi-ming-231776","琉球風俗图卷二","此作以工笔设色写实地铺展祭祀仪典。左侧俯瞰石砌祠宇墓垣，石纹朴拙厚重，匠人负具驻足，衬出场地的肃穆沉静。右侧仪仗队列绵长严整，旗幡舒卷，僧俗诸人衣冠有别，执事者持礼器、掌仪卫，依序徐行，将丧葬祭祀的仪轨细腻铺陈。\n\n设色淡雅克制，青、朱、褐诸色点缀素底，晕染出典仪的庄重氛围，笔致写实入微，将旧时琉球的民俗风貌凝于卷上，让湮没的礼制场景鲜活重现，是具象生动的民俗纪实佳作。",[23,24,25,26,29,28,61,69,1420,21861,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe2fd02bb4d8ab679342e0a3bbe2b7c.jpg",[],{"id":37045,"slug":37046,"title":37047,"dynasty":3235,"author":29497,"museum":459,"description":37048,"tags":37049,"thumbUrl":37050,"material":808,"size":809,"collection":179,"collections":37051,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},231744,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-er-fen-duan-gu-wen-chao-231744","江户时代 公余探胜图卷-二分段","谷文晁（1763～1841），日本江户时代的著名画家。曾广泛学习狩野派、圆山派、南画（水墨画）及西洋画法，并将各画种的表现手法相互借鉴，从而形成自己的风格。其曾为《集古十种》图录做插图，还曾游历各地画出大量风景写生画。弟子中有田能村竹田、渡边华山、谷文一、谷文二。",[23,24,25,26,28,30,244,7,540,1390,3817,66,37,500,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f048beb44c9ac69d4eadd260d6c1a2c.jpg",[],{"id":37053,"slug":37054,"title":37055,"dynasty":3235,"author":29497,"museum":459,"description":37048,"tags":37056,"thumbUrl":37060,"material":808,"size":809,"collection":179,"collections":37061,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},231743,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-yi-fen-duan-gu-wen-chao-231743","江户时代 公余探胜图卷-一分段",[23,24,28,30,26,37057,3817,244,7,5404,66,37058,881,4677,11423,540,38,37059,61,118],"海","沙滩","远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897e39219f17fa6a69eead11cab93a56.jpg",[],{"id":37063,"slug":37064,"title":37065,"dynasty":3235,"author":434,"museum":459,"description":37066,"tags":37067,"thumbUrl":37069,"material":808,"size":809,"collection":179,"collections":37070,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},231734,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-er-ping-yi-ming-231734","江户时代 洛中洛外图屏风-二屏","以金箔为底，借云气划分场景，全景铺展往昔都城的鲜活世态。屋舍错落排布，仪仗穿街过巷，茶肆中宴饮正酣，林泉处雅士闲游。贩夫走卒与簪冠仕族各司其态，笔触细密勾勒出烟火日常与仪典盛事。冷金底色晕开雅致华贵，揉合俗世喧嚣与林下闲情，将浮生百相凝于尺幅之间，每一处细节都是鲜活的时代切片，铺就出一卷饱满生动的市井风华长卷。",[23,37068,28,59,29,61,62,63,64,7,35,90,540],"屏风画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb32431e1bd8f82df0dddc0ac69376e45.jpg",[],{"id":37072,"slug":37073,"title":37074,"dynasty":3235,"author":30533,"museum":459,"description":30534,"tags":37075,"thumbUrl":37076,"material":808,"size":809,"collection":179,"collections":37077,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},231630,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-shang-zhong-xia-shang-tu-zuo-guang-xin-231630","室町时代 清水寺缘起画卷上中下（上）",[24,25,26,28,29,59,923,61,62,30,90,7,156,70,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42489e41e6edbd1edcb14c072d8df156.jpg",[],{"id":37079,"slug":37080,"title":37081,"dynasty":3235,"author":37082,"museum":459,"description":37083,"tags":37084,"thumbUrl":37085,"material":179,"size":179,"collection":179,"collections":37086,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},231581,"jiang-hu-shi-dai-xiao-xiang-ba-jing-tu-juan-shou-ye-chang-xin-231581","江户时代萧湘八景图卷","狩野常信","此作用淡墨轻晕出空濛烟岚，山峦在水雾里迤逦起伏，或显或隐，晕染出悠远的纵深。江面烟波浩渺，归雁列队掠过长空，江渚间村居错落、渔舟泛波，林舍与茂树点缀水岸，将水乡闲逸日常藏进山水间。\n画家以极简笔墨勾勒物象，淡彩点染草木，把潇湘山水的清寂灵秀揉进温润雅致的笔墨意趣里，整体意境澹泊空灵，将烟波水乡的幽远禅意晕散开来，仿佛能闻见水畔林风，窥见渔樵往来的悠然日常，尽显山水间的澹然诗意。",[23,24,26,114,28,30,118,116,115,156,62,64,117,7,2316,639,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcf1073186518574b343a552415ea54d.jpg",[],{"id":37088,"slug":37089,"title":37090,"dynasty":54,"author":2132,"museum":167,"description":37091,"tags":37092,"thumbUrl":37093,"material":360,"size":37094,"collection":179,"collections":37095,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},231372,"qi-xia-shan-tu-zhang-hong-231372","栖霞山图","栖霞山以禅寺和石刻千佛岩闻名于世，位于南京城东北22公里，又名摄山，南朝时山中建有“栖霞精舍”，因此得名。栖霞山有三峰，主峰三茅峰海拔286米，又名凤翔峰；东北一山，形若卧龙，名为龙山；西北一山，状如伏虎，名称虎山。栖霞山没有钟山高峻，但清幽怡静，风景迷人，名胜古迹，遍布诸峰，被誉为“金陵第一名秀山”。尤其是深秋的栖霞，枫林如火，漫山红遍，宛如一幅美丽的画卷，素有“春牛首，秋栖霞”之说。1634年，明代画家张宏以南京近郊的胜地栖霞山为画题，创作了一幅栖霞山图。真实地描绘出了明朝时期栖霞山的风貌。整幅画面气势恢宏，以千佛岩为主体，纵深地铺洒出一片葱郁的森林，使人看后心旷神怡，仿佛置身于那片清凉世界之中。\n此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[24,25,202,28,30,7,116,62,117,37,118,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3fad6af81b9c3d5091b3f39f4570be3.jpg","纵341.9cm，横101.8cm",[],{"id":37097,"slug":37098,"title":20721,"dynasty":54,"author":2132,"museum":459,"description":37099,"tags":37100,"thumbUrl":37101,"material":179,"size":179,"collection":179,"collections":37102,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},230915,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-230915","此作笔墨秀雅清润，以平远视角铺展庭院景致。垂杨柳丝扶苏，掩映廊庑台榭，墨色晕染出清寂空疏的氛围。画面左下角，着官袍士人正与仆从揖对，旁侧马匹静候，将朝臣谒见等候的场景娓娓铺陈，人物情态生动自然，尽显古礼分寸。\n\n布景简淡洗练，线条细劲工致，淡设色晕染浅淡柔和，将史记旧事的沉静静谧融于日常朝谒场景之中。画作兼具叙事性与文人雅意，无需繁复铺陈，便把君臣故事里的恭敬庄重，藏在庭院幽寂氛围里，尽显温婉古雅的文人叙事画格调。",[24,25,28,59,29,61,90,7,62,153,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce24d8ae3f83d6f50fe771dbf7b0a0f.jpg",[],{"id":37104,"slug":37105,"title":37106,"dynasty":3235,"author":37107,"museum":459,"description":37108,"tags":37109,"thumbUrl":37113,"material":808,"size":809,"collection":179,"collections":37114,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[23,24,25,26,28,29,437,60,153,171,61,115,156,37110,567,116,62,64,2895,172,37111,37112,761,1067,117,63,170,11703,89,1621,7,12512,120,438],"芙蓉","雉鸡","燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":37116,"slug":37117,"title":37118,"dynasty":223,"author":434,"museum":459,"description":37119,"tags":37120,"thumbUrl":37122,"material":808,"size":809,"collection":179,"collections":37123,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},230343,"pu-ti-ye-hua-shi-ba-luo-han-tu-yi-ming-230343","菩提叶画十八罗汉图","此作以天然菩提叶为画布，一面金叶素净留白，一面工笔敷色绘就罗汉群像。以布袋罗汉为中心，众僧或垂目静立，或私语颔首，衣袂褶皱晕染细腻柔和，浅淡山林衬出禅林清寂。\n\n将叶片天然轮廓作为画面边界，把佛国意趣与自然天工融为一体，工丽设色勾勒出罗汉安闲自在的神态，静穆雅致间尽显佛绘的细腻工巧，借菩提的禅意烘托出世外梵林的悠然意境，方寸叶间藏尽禅门雅韵。",[24,25,37121,923,61,29,28,385,7],"菩提叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188689bcdbfdaa69e7b68299bcf0f89c.jpg",[],{"id":37125,"slug":37126,"title":37127,"dynasty":223,"author":434,"museum":459,"description":37128,"tags":37129,"thumbUrl":37130,"material":179,"size":179,"collection":179,"collections":37131,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},230327,"lang-qiao-shan-shui-tu-yi-ming-230327","廊桥山水图","此作截取江岸一隅，崖壁以石青石绿晕染敷色，古雅厚重，间杂丹红秋叶，冷暖相映晕开深秋明丽。苍松杂木扎根崖间，笔墨点染间尽显葱郁生机。\n\n浅滩汀渚错落排布，水面留白尽显烟波空濛之态。滩头人物往来、牧放嬉游，纤毫小笔勾勒出鲜活烟火，将山居野逸与人间日常相融无间。\n\n笔法兼工带写，山石皴擦简练古拙，树木点染生动自然，承继青绿山水明丽设色的传统，又以生活化场景消解了古典山水的清冷疏离，尺幅间铺展出世外桃源般的悠然意韵。",[24,28,27,29,30,63,64,7,117,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6071decbc12190d4d9612207ecb3d76d.jpg",[],{"id":37133,"slug":37134,"title":37135,"dynasty":223,"author":434,"museum":459,"description":37136,"tags":37137,"thumbUrl":37138,"material":808,"size":809,"collection":179,"collections":37139,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},230306,"shi-ba-luo-han-ce-ye-yi-ming-230306","十八罗汉册页","此作用菩提叶片为画底，巧借天然形制铺展禅意图景。左侧素叶留白，浅棕叶色衬在幽蓝底色之上，尽显自然本真之美。右侧叶片设色绘群罗汉，衣纹勾勒细腻柔婉，敷色古雅沉静，人物神态各有不同，或垂眸凝思或语笑晏晏，禅意闲静的氛围呼之欲出。整作对页排布，一素一画，以天然材质承载佛国意趣，将东方禅理与雅致工笔相融，尽显清隽出尘的古典美学意蕴。",[24,385,923,29,28,61,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c0eb26b4b76067960ef75b0d7efd24f.jpg",[],{"id":37141,"slug":37142,"title":37143,"dynasty":223,"author":37144,"museum":459,"description":37145,"tags":37146,"thumbUrl":37147,"material":179,"size":179,"collection":179,"collections":37148,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},230256,"hua-chun-tai-tong-le-ce-huang-yue-230256","画春台同乐册","黄钺","此作以淡墨轻晕铺就月夜园林景致，题诗衬景，将清宵幽寂意趣娓娓道来。月上宵空，清光晕染水岸屋舍，错落庭园隐于林木间，竹树疏密相宜，水岸亭台凌波而立，垂柳轻拂水面，石岸错落点缀浅滩，铺展出江南私园的雅致闲静。\n\n笔致秀润简淡，留白尽显月色空濛，将文人耽于静夜闲读的隐逸心境融于笔墨。淡着色晕染出草木清润，屋舍朴雅简净，整体萧疏淡远，尽显文人山水小品悠然闲淡的意韵，把夜色里园林的静谧雅韵全然铺陈开来。",[24,25,385,114,116,62,7,1665,64,117,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5f5de249117605e5d665e899be726f.jpg",[],{"id":37150,"slug":37151,"title":37152,"dynasty":223,"author":434,"museum":459,"description":29119,"tags":37153,"thumbUrl":37157,"material":808,"size":809,"collection":179,"collections":37158,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},229186,"yang-cai-dong-jing-shan-shui-mei-ping-yi-ming-229186","洋彩冬景山水梅瓶",[23947,37154,30,37155,818,28,1525,117,7,18056,565,16060,37156],"洋彩","冬景","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d91d2c06f50e2eadaff4b6cc3e9361e.jpg",[],{"id":37160,"slug":37161,"title":37162,"dynasty":223,"author":647,"museum":459,"description":37163,"tags":37164,"thumbUrl":37165,"material":179,"size":179,"collection":179,"collections":37166,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},229031,"shan-shui-shi-er-kai-wang-yuan-qi-229031","山水十二开","此作用北苑墨法写就，山峦层叠盘桓，以干笔积墨反复皴擦，线条苍劲老辣，墨色干湿浓淡交织，层层铺陈出山林的浑厚华滋。近岸杂木错落，掩映水榭村居，溪涧回环穿谷而出，衬出林泉幽寂之致。\n整体章法紧而不塞，虚实相生，将元人笔墨的疏淡苍润融入自身沉雄笔力之中，既得古法的静穆高逸，又自具苍浑朴拙气度，尽显正统山水画的笔墨意趣，将江南山林的深秀与文人画的书卷气融为一体，师法古人又自出机杼，是极具代表性的传统山水佳构。",[24,25,114,385,118,30,117,64,7,1705,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146913e1e87fe1b26f6aef5dc147242.jpg",[],{"id":37168,"slug":37169,"title":37170,"dynasty":54,"author":434,"museum":459,"description":37171,"tags":37172,"thumbUrl":37173,"material":179,"size":179,"collection":179,"collections":37174,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},228776,"lin-xi-xian-tiao-tu-yi-ming-228776","临溪闲眺图","此作用笔苍润兼具，以淡墨晕染远山，虚影朦胧融于空濛雾气，将天地寥廓的悠远意境缓缓铺展。近岸古木虬枝错盘，枯梢与繁叶互生，浓墨点染层叠木叶，沉郁间尽显苍劲生机。\n\n溪面空阔无波，渔人收舟立岸，简笔勾勒的身影意态悠然，静眺林泉烟景。整幅以水墨皴擦晕染相融，以极简物象铺陈出山林幽居的散淡意趣，萧疏野逸间藏着出世闲雅的山居况味，观之便如身临幽寂林泉，涤去尘俗喧嚣。",[23,24,475,202,118,28,7,5815,117,20021,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177849b6e577db11274d711ecbe88233.jpg",[],{"id":37176,"slug":37177,"title":37178,"dynasty":54,"author":434,"museum":459,"description":37179,"tags":37180,"thumbUrl":37181,"material":808,"size":809,"collection":179,"collections":37182,"showCount":631,"zanCount":928,"manualWeight":48,"mainColor":49},228666,"wu-cai-bai-lu-zun-yi-ming-228666","五彩百鹿尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[2406,23947,36194,28,1525,3095,1855,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a0cd95d73f694da81155f13e428e8f.jpg",[],{"id":37184,"slug":37185,"title":37186,"dynasty":133,"author":434,"museum":459,"description":37187,"tags":37188,"thumbUrl":37189,"material":179,"size":179,"collection":179,"collections":37190,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},228229,"guan-jing-tu-yi-ming-228229","观景图","以水墨晕染出林泉幽隅，老干虬曲的大树遮天蔽日，浓墨点簇的枝叶如盖，掩映着后方隐约的山居茅舍。淡墨皴擦的坡岸蜿蜒延伸，留白处似清溪浅濑，石上隐者凭坐对谈，共赏烟林清景。\n\n笔意简淡清疏，不施浓艳，以水墨的浓淡干湿晕开朦胧烟岚，将幽居林下的散淡襟怀藏在晕染的雾气之中。残题与画作相映，尽显简远意趣，寥寥数笔便勾勒出林泉高致，把山泽间的静穆悠然铺陈在尺幅之内，观之如身临疏旷幽寂的林下烟景，尽得闲雅隐逸之致。",[24,25,114,30,61,120,118,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bae947a0ca7be4223f0dd9af5acdecc.jpg",[],{"id":37192,"slug":37193,"title":37194,"dynasty":18,"author":434,"museum":459,"description":37195,"tags":37196,"thumbUrl":37197,"material":179,"size":179,"collection":179,"collections":37198,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},227875,"liu-tang-qiu-cao-tu-yi-ming-227875","柳塘秋草图","此作以淡墨晕染水天，将清秋的空濛萧索揉在氤氲水汽中。左侧岸渚垂柳成林，枝叶以细笔点染如烟似雾，把秋的清柔藏在垂绦之间。水面留白处点缀浅渚芦草，笔墨简淡却野意自生，细描的水纹漾开闲静涟漪，晕开塘岸幽寂。\n\n以尺幅小景框住秋郊疏朗之美，摒弃繁复皴法，凭水墨浓淡铺陈远近层次，将深秋的沉静淡愁融在画面里，如同一曲低缓清寂的秋歌，淡而余味悠长，尽显宋画独有的含蓄雅致，藏着文人偏爱的冷澹幽隽意境。",[23,152,24,25,2895,29,114,28,118,30,1216,4163,2246,7,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce6b7f466f533a40e0830c8a2449467.jpg",[],{"id":37200,"slug":37201,"title":26189,"dynasty":18,"author":434,"museum":459,"description":3720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佚名 秋江暝泊图 纨扇 绢本设色 23.7×24.3cm 北京故宫博物院藏\n\n秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等。",[23,152,24,25,140,114,28,475,118,153,341,342,7,115,37212,11754,17783,244,10585,10586],"停泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2f17134a6c67312b94dde38c168262.jpg",[],{"id":37216,"slug":37217,"title":37218,"dynasty":990,"author":434,"museum":459,"description":37219,"tags":37220,"thumbUrl":37221,"material":808,"size":809,"collection":179,"collections":37222,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},227117,"hai-shou-pu-tao-wen-jing-zhi-fu-jian-1-yi-ming-227117","海兽葡萄纹镜之附件-1","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[28,30,29,341,342,7,676,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6d8d9f78003218873fad34b454f55c.jpg",[],{"id":37224,"slug":37225,"title":37226,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":37227,"thumbUrl":37228,"material":808,"size":809,"collection":3244,"collections":37229,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},226144,"winter-landscape-mo-nai-226144","Winter Landscape",[3239,7526,7527,7528,7661,7778,818,7,6454,7131,3148,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe113d6f4efce39eecc6830ad1762e1c6.jpg",[3244],{"id":37231,"slug":37232,"title":37233,"dynasty":3235,"author":7523,"museum":459,"description":7524,"tags":37234,"thumbUrl":37238,"material":808,"size":809,"collection":3244,"collections":37239,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":49},226049,"the-boats-in-asnieres-1873-mo-nai-226049","The Boats in Asnieres, 1873",[7526,3239,7419,37235,9940,32,66,1288,37236,7,61,7420,5404,37237],"色彩捕捉","岸边建筑","停泊船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee73caeeade0730bf538686aea205b7.jpg",[3244],{"id":37241,"slug":37242,"title":37243,"dynasty":3235,"author":434,"museum":459,"description":16988,"tags":37244,"thumbUrl":37245,"material":808,"size":809,"collection":179,"collections":37246,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},225459,"fu-shi-hui-217-yi-ming-225459","浮世绘217",[15217,28,29,170,4124,289,7,624,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029ea63e601dc52690012371a9edbaa5.jpg",[],{"id":37248,"slug":37249,"title":37250,"dynasty":3235,"author":434,"museum":459,"description":37251,"tags":37252,"thumbUrl":37253,"material":179,"size":179,"collection":179,"collections":37254,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},225339,"fu-shi-hui-92-yi-ming-225339","浮世绘92","层叠奔涌的飞瀑是画面的灵魂，蓝白水纹带着磅薄动感顺着赭黄、赤红的山崖倾泻而下，冷暖色调相撞，迸发出强烈的视觉张力。\n\n右上角负鼓攀山的行者，与下方驻足观瀑的旅人，让雄阔山水晕开人间烟火气，动静相映，让幽深山林多了鲜活的意趣。利落刚劲的勾勒线条，明快浓烈的平涂色彩，尽显浮世绘版画的典型风韵，将飞瀑的雄浑奔涌与山林的清幽苍润融为一体，把寄情山水的江户风雅藏在寸尺画幅中，既有着自然造物的震撼冲击力，也传递出松弛闲适的人文意涵。",[15217,11574,28,30,204,7,61,64,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c62916bb5162e51217d00a2aa5f5f3b.jpg",[],{"id":37256,"slug":37257,"title":37258,"dynasty":3235,"author":434,"museum":459,"description":37259,"tags":37260,"thumbUrl":37261,"material":179,"size":179,"collection":179,"collections":37262,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},225334,"fu-shi-hui-87-yi-ming-225334","浮世绘87","飞流直下的瀑布以劲挺利落的蓝白线条铺就，仿佛携着轰然水声自崖头倾泻而下。崖畔朱色小屋静立，暖调破开冷冽水汽，让奔涌的山水多了一丝人间暖意。右下角旅人负具驻足观瀑，衬出飞瀑的宏阔，将人与自然的尺度铺展开来。\n\n设色明丽雅致，青绿山石晕染出山野苍翠，钴蓝飞瀑撞入眼底，暖棕崖壁点缀其间，尽显浮世绘独有的装饰质感。画作揉合幽谷飞瀑的壮阔与山居的幽寂烟火，将日式山水特有的诗意幽玄之美尽显无余。",[15217,11574,28,30,204,62,63,64,61,7,35,37,244,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd712d7caa336d20298db6aa8156e555f.jpg",[],{"id":37264,"slug":37265,"title":37266,"dynasty":3235,"author":434,"museum":459,"description":37267,"tags":37268,"thumbUrl":37269,"material":179,"size":179,"collection":179,"collections":37270,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},225320,"fu-shi-hui-62-yi-ming-225320","浮世绘62","寒波漾着清蓝，木桥曲折如带牵起两岸雪色。旅人戴笠踏霜，牵驮货的瘦马缓行桥上，肩头落雪未掸，羁途匆匆。右侧茅庐雪压檐角，孤松疏枝擎着碎雪，静看行旅。远山素裹银装，暖调淡霞晕开在雪巅，冷暖撞色晕开清寂氛围。\n\n画面将冬日行旅的萧索，融在雪国水乡的静穆里，笔调雅致温婉，把冬郊羁愁与初雪诗意揉作一处，铺展出让人沉醉的雪国侘寂之美。",[15217,28,11574,818,5148,90,35,7,342,341,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd748d6b44a119d42d7ca22eda0f7f54f.jpg",[],{"id":37272,"slug":37273,"title":37274,"dynasty":3235,"author":434,"museum":459,"description":37275,"tags":37276,"thumbUrl":37277,"material":179,"size":179,"collection":179,"collections":37278,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},225319,"fu-shi-hui-60-yi-ming-225319","浮世绘60","高拱木桥横跨水泽，桥上行人摩肩接踵，铺陈开江户市井的鲜活烟火。浅青长天晕开柔淡底色，远处富士山覆着素白雪顶，为热闹市景晕开一抹清寂闲雅。桥下滩湾错落，茶摊凉伞散落其间，黛瓦屋舍依水而建，晕染出水乡的温婉日常。\n\n构图舒展雅致，明快柔和的配色将俗世喧嚣与远山静穆相融，把江户浮生的鲜活日常同东瀛山水意趣揉为一体，尽显浮世绘独有的市井诗意，让观者窥见旧日东瀛鲜活的人间暖意，于烟火中静赏山水闲情。",[15217,11574,28,5148,32,341,1080,7,35,61,9952,21861,5404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d8cdb469b69f6af8a32c5f6cd26751.jpg",[],{"id":37280,"slug":37281,"title":37282,"dynasty":223,"author":647,"museum":459,"description":37283,"tags":37284,"thumbUrl":37285,"material":179,"size":179,"collection":179,"collections":37286,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},224397,"fang-li-ying-qiu-bi-yi-zhou-wang-yuan-qi-224397","仿李营丘笔意轴","《清薛宣仿李营丘山水图轴》是清朝薛宣所创作的山水图轴。\n清薛宣仿李营丘山水图轴 此画作于1685年，从题款得知为仿北宋李营丘笔法。\n整幅画构图采用北宋人的主山高耸的格局，细笔绘成，敷以淡色，具有清旷、温秀的格调。\n薛宣，康熙年间人，字辰令，号水田居士，浙江嘉善人；一作娄东（今江苏太仓）人，侨居浙江武唐（今嘉兴）。\n善仿宋、元诸家山水，宗法王鉴，用笔厚重有气，一时之能品也。\n尝自夸其画“不参二王”，意即可与王原祁、王翚两名家并列。",[23,24,25,202,60,114,118,30,117,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577963b0648ab73e5506961bfbe382a1.jpg",[],{"id":37288,"slug":37289,"title":13011,"dynasty":223,"author":647,"museum":459,"description":37290,"tags":37291,"thumbUrl":37292,"material":179,"size":179,"collection":179,"collections":37293,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},224382,"fang-yi-feng-shan-shui-wang-yuan-qi-224382","此帧全景山水层峦叠嶂，逶迤连绵，尽显浑穆苍茫的山水元气。以干笔积墨之法，以披麻皴反复皴擦山峦，笔墨苍厚华滋，细密间见疏朗之致。河谷间村舍错落隐于林木，松荫下茅舍临水枕溪，板桥横陈浅滩，将山居隐逸的澹然意趣藏于丘壑之中。画作追摹前贤笔意却自出机杼，以熟后生的笔法调和苍润，在繁密构图里经营疏密节奏，将端稳气质与林下幽居的清雅意韵相融，尽显文人山水的静穆悠长。",[23,24,25,202,30,28,118,341,342,63,7,116,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ef16d54ccbedb446bb64249d083de.jpg",[],{"id":37295,"slug":37296,"title":37297,"dynasty":223,"author":31393,"museum":459,"description":17243,"tags":37298,"thumbUrl":37299,"material":808,"size":809,"collection":179,"collections":37300,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":985},224143,"luo-han-pindola-bharadvaja-tang-ka-224143","罗汉Pindola 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清丽，做到了色不掩笔。用笔精细，色调浓润，风格清新秀丽。",[23,24,25,26,28,29,30,7,61,90,32,411,438,119,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc55a22a730b92f31c6715f8624f45ae.jpg",[],{"id":37318,"slug":37319,"title":37320,"dynasty":18,"author":434,"museum":459,"description":37321,"tags":37322,"thumbUrl":37323,"material":40,"size":37324,"collection":179,"collections":37325,"showCount":631,"zanCount":48,"manualWeight":48,"mainColor":128},223533,"jiang-cheng-tu-yi-ming-223533","江城图","图为一幢高大的建筑耸立在河边，梁檐厚重，气势磅礴。 三、两个人正从大楼的上层向外望去； 河岸，河水波涛汹涌，浪涛拍岸，船径顺岸。 , 河边的人已经到了毛伊岛岸边； 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御制五律一章，以宠其行，行至山东临清以病卒。",[24,152,26,30,114,475,7,117,116,33,153,119,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23648be720832d58f975e3904b328687.jpg",[],{"id":37726,"slug":37727,"title":37728,"dynasty":223,"author":28119,"museum":459,"description":37729,"tags":37730,"thumbUrl":37731,"material":808,"size":809,"collection":179,"collections":37732,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},290383,"fang-song-yuan-fen-ben-liu-duan-tu-juan-wang-chen-290383","仿宋元粉本六段图卷","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。",[23,24,26,25,114,475,60,118,243,7,9777,64,115,120,16356,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f622e0ac77dfbb37d52721ef0eca45.jpg",[],{"id":37734,"slug":37735,"title":37736,"dynasty":18,"author":434,"museum":459,"description":37737,"tags":37738,"thumbUrl":37739,"material":808,"size":809,"collection":179,"collections":37740,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":49},290107,"jiang-cun-tu-yi-ming-290107","江村图","此作是典型的江南平远小景，淡墨晕染的远山隐在烟霭中，虚实相生晕开空濛暮色。沙洲之上茂林成荫，枝叶皴擦苍劲朴拙，村居藏在浓荫深处，暗合江村烟火意趣。\n\n水面皴出细碎波纹，渔翁驾扁舟，长篙划破江天寂静，漾开闲淡的生机。右下角岸渚老树盘虬，与左侧沙洲遥相呼应。\n\n整幅以淡赭铺底，墨色层次柔和温婉，摒去繁复勾勒，以极简构图烘托出江村日暮的恬然闲适。将寄情山水的隐逸心境铺陈绢素，淡而愈真，简而意长，仿佛能闻水波轻摇、晚风穿林，尽显江南水乡悠然野趣。",[23,24,30,114,115,7,500,64,34571,10585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd75706a44553aa4775e782b4a7004a5.jpg",[],{"id":37742,"slug":37743,"title":37744,"dynasty":3235,"author":434,"museum":459,"description":37745,"tags":37746,"thumbUrl":37749,"material":808,"size":809,"collection":179,"collections":37750,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},288754,"samuel-wale-drawing-for-a-book-illustration-yi-ming-288754","Samuel Wale--Drawing for a book 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等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[24,25,385,114,60,30,7,117,1290,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9086e85a250e4259f1e3d821ac962d.jpg",[],{"id":38504,"slug":38505,"title":12712,"dynasty":223,"author":7748,"museum":20,"description":12713,"tags":38506,"thumbUrl":38507,"material":40,"size":12716,"collection":179,"collections":38508,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},236121,"shan-shui-lou-ge-ce-chen-mei-236121",[24,25,385,28,59,30,62,116,7,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37493287b70f13adc32e3bdc532290b1.jpg",[],{"id":38510,"slug":38511,"title":12712,"dynasty":223,"author":7748,"museum":20,"description":12713,"tags":38512,"thumbUrl":38513,"material":40,"size":12716,"collection":179,"collections":38514,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},236120,"shan-shui-lou-ge-ce-chen-mei-236120",[24,25,385,28,59,30,62,116,7,64,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aad21bb0a43e8323555d60138991365.jpg",[],{"id":38516,"slug":38517,"title":12712,"dynasty":223,"author":7748,"museum":20,"description":12713,"tags":38518,"thumbUrl":38519,"material":40,"size":12716,"collection":179,"collections":38520,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},236118,"shan-shui-lou-ge-ce-chen-mei-236118",[24,25,385,59,28,30,62,116,7,117,153,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c89a539ae35bc4977223d5155c20998.jpg",[],{"id":38522,"slug":38523,"title":3901,"dynasty":223,"author":29404,"museum":459,"description":38524,"tags":38525,"thumbUrl":38526,"material":179,"size":179,"collection":179,"collections":38527,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},236080,"shan-shui-ce-shen-zong-jing-236080","此作用笔松秀平和，以淡墨铺陈江南水岸之景。近岸杂木错落，苍枝与柔柯相互掩映，板桥轻卧浅波，林麓间隐见村居茅舍，暗合幽居林泉的隐逸意趣。远山以淡墨轻勾浅皴，留白写就浩渺江天，墨色清润层次柔和，尽显娄东一脉温婉苍秀的画风特质。整幅不作刻意繁复刻画，简淡朴拙间铺展出萧疏清寂的山水之境，将文人幽栖林下的闲静心绪藏于浅淡笔墨中，意境空澄闲雅，尽显正统山水画的文人气韵。",[24,25,114,118,30,63,64,7,31,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852936f910c7d535395c9891b41760a6.jpg",[],{"id":38529,"slug":38530,"title":6800,"dynasty":223,"author":434,"museum":459,"description":38531,"tags":38532,"thumbUrl":38533,"material":179,"size":179,"collection":179,"collections":38534,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},236062,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236062","此作画境开合有致，近景危崖嶙峋对峙，古松虬曲斜倚崖间，苍劲老辣。坡岸间杂草矮木错落，野意横生。幽谷里溪流隐现，右侧枯木疏枝横斜，萧散清寂。远景平湖如镜，彼岸山峦逶迤，林麓朦胧晕染在空濛烟岚之中。\n\n笔墨兼擅苍秀，山石以短皴点苔，勾勒出坚硬质感，晕染柔和自然。设色简淡明净，以水墨晕出水色天光的空濛，将深秋萧疏之气揉进山水静穆之中，幽寂淡远的林下意境油然而生，尽显仿古山水的雅致意趣。",[24,25,385,28,118,60,30,289,540,7,500,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f40330fbbba36daca0dd28b9a2a4247.jpg",[],{"id":38536,"slug":38537,"title":30335,"dynasty":223,"author":434,"museum":459,"description":38538,"tags":38539,"thumbUrl":38540,"material":179,"size":179,"collection":179,"collections":38541,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},235980,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235980","此作以虚实相生的笔墨绘就山林幽境，主峰以枯涩浓墨勾皴，写尽崖石嶙峋苍劲的质感。数道飞瀑借留白衬出灵动，掩映崖间为冷寂山景添了鲜活生机。\n下方以浓墨点染苍松，错落茅舍隐于林木间，寥寥数笔便勾勒出幽居野逸之趣。淡墨晕染出空濛山岚，将山野清寂冷逸尽数铺陈。整体简淡疏朗，以留白营造出悠远禅意，尽显文人山水小品的雅逸之致，藏着寄情林泉的幽居意趣。",[24,114,118,30,117,204,7,35,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a4d76ab334058b03a3d817ec7b2b7ae.jpg",[],{"id":38543,"slug":38544,"title":3901,"dynasty":223,"author":22445,"museum":459,"description":38545,"tags":38546,"thumbUrl":38547,"material":179,"size":179,"collection":179,"collections":38548,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":49},235946,"shan-shui-ce-qi-zhi-jia-235946","此作书画合璧，右侧绘就幽壑山居之景，危崖高耸出云，飞瀑隐于崖岫之间，苍松虬劲扎根矶石，林树萧疏错落，浅淡烟岚轻笼山谷，似有清气浮动弥散。\n\n笔墨清隽秀润，以简淡皴擦晕染山石肌理，林木不求繁缛层叠，寥寥数笔便具古雅意态，将幽寂山林的清远之致凝于尺幅。左侧题跋行书笔致松灵舒展，与画中逸气相合，暗合文人林泉之志，观之如临静穆丘壑，可揽山野清趣，尽得寄情山水的隐逸襟怀。",[24,25,114,30,120,385,118,117,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff424acd1624cdc07817dcdf5abdad340.jpg",[],{"id":38550,"slug":38551,"title":380,"dynasty":223,"author":36763,"museum":459,"description":36764,"tags":38552,"thumbUrl":38553,"material":808,"size":809,"collection":179,"collections":38554,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},235900,"shan-shui-tu-ce-guan-quan-235900",[24,25,385,120,114,28,30,62,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd227eb3eb180218938a4f022b4e69a6d.jpg",[],{"id":38556,"slug":38557,"title"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他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[152,437,24736,29535,13495,61,33074,39038,2079,6783,39039,7,32,39040,34399,33073,39041,12030,5409,39042],"铠甲","建筑柱式","冲突场景","武器","叙事场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2f69ce983061f1fd4e24622108c0bc.jpg",[],{"id":39046,"slug":39047,"title":39048,"dynasty":3235,"author":39049,"museum":459,"description":39050,"tags":39051,"thumbUrl":39054,"material":808,"size":809,"collection":179,"collections":39055,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":49},232330,"a-er-ma-57-lao-lun-si-a-er-ma-ta-de-ma-232330","阿尔玛57","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[152,3239,28,39052,61,16081,23867,32690,411,7,69,70,8259,5403,39053,25015,2725],"古典风格","装饰性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6e205212eed2caf31a2cf49bd1af91.jpg",[],{"id":39057,"slug":39058,"title":39059,"dynasty":3235,"author":39049,"museum":459,"description":39050,"tags":39060,"thumbUrl":39062,"material":808,"size":809,"collection":179,"collections":39063,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":985},232282,"a-er-ma-9-lao-lun-si-a-er-ma-ta-de-ma-232282","阿尔玛9",[3239,28,4311,61,170,64,244,16621,39061,206,7,38,26659,7527,1191],"蕨类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5cf8a0e4a3bd32e7ccfd573b94e151c.jpg",[],{"id":39065,"slug":39066,"title":39067,"dynasty":3235,"author":434,"museum":459,"description":39068,"tags":39069,"thumbUrl":39070,"material":808,"size":809,"collection":179,"collections":39071,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},231841,"gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-xia-bu-yi-ming-231841","古画花鸟山水人物粉本-人物卷下部","本卷四段各有章法，右侧武将以精工线描勾勒甲胄纹饰，华丽细致，威严尽显。中段渡海一景，晕染水波灵动逼真，舟中撑船人姿态写实自然，朴拙设色晕开沧溟意境。左二高僧以白描写就，衣褶圆转舒展，头光晕染柔和，尽显出尘安然气度，最左僧者神情静谧淡然。整体兼工带写，白描清雅简练，设色柔和古旧，精准捕捉不同身份人物特质，笔意松弛却神态各彰，尽显古雅的东瀛人物画韵味。",[23,24,25,26,437,28,61,115,26054,30,19594,30619,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9b18253a54221ac9ea9ae208a86fb0.jpg",[],{"id":39073,"slug":39074,"title":39075,"dynasty":3235,"author":434,"museum":459,"description":39076,"tags":39077,"thumbUrl":39080,"material":808,"size":809,"collection":179,"collections":39081,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":49},231729,"jiang-hu-shi-qi-xiang-cun-gu-shi-hui-juan-shang-bu-yi-ming-231729","江户时期 乡村故事绘卷-上部","此绘卷为典型和汉物语长卷形制，图文错落排布。平假名草书舒展流丽，浅底衬着莳金暗纹，古雅沉静。三幅设色古画各有意趣：山林间高士凭崖闲坐，水畔处甲士趁舟行军，廊下众人雅集清谈。敷色沉稳古拙，线条朴拙生动，将乡野旧闻的叙事性藏于笔间，把文情画意融于长卷，带着旧纸特有的温润质感，铺展开一卷裹着古意的乡野往昔。",[23,26,28,29,119,16356,61,30,90,761,1067,27,64,726,7,39078,39079,1344],"聚会场景","骑马场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ced2fa0e0a87ba1faa1d5cc78070d2e.jpg",[],{"id":39083,"slug":39084,"title":39085,"dynasty":3235,"author":30533,"museum":459,"description":30534,"tags":39086,"thumbUrl":39087,"material":808,"size":809,"collection":179,"collections":39088,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},231717,"shi-ting-shi-dai-xing-guang-si-yuan-qi-hua-juan-shang-xia-juan-xia-tu-zuo-guang-xin-231717","室町时代 星光寺缘起画卷上下卷(下)",[23,28,29,59,26,25,61,62,30,7,69,70,32,243,16059,923,8941,1665,411,11308,19477,25651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e8c658f98ed5e6da2b6f79695a224.jpg",[],{"id":39090,"slug":39091,"title":39092,"dynasty":3235,"author":434,"museum":459,"description":39093,"tags":39094,"thumbUrl":39096,"material":808,"size":809,"collection":179,"collections":39097,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},231635,"lian-cang-shi-dai-zhu-ji-wu-yu-hua-juan-yi-ming-231635","镰仓时代 住吉物语画卷","以俯瞰长卷铺展秋日图景，左段郊野丹枫点染秋意，士人围坐雅谈，武士恭谨侍立，山林丘壑间漫着悠然秋韵。中段日式宅邸廊庑萦回，屋中主人安坐，侍从穿廊往来，将贵族闲居日常细腻铺陈。\n清隽墨线勾勒屋宇衣纹，浅淡设色晕开古雅温柔，岁月晕黄的纸本更添沉静韵味，将山居闲雅诗意融于笔底，复刻出千年前和风贵族的风雅日常。",[26,29,28,59,61,62,7,30,968,540,70,413,39095],"水洼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e8492f4fb31b52df86230c0000e433.jpg",[],{"id":39099,"slug":39100,"title":39101,"dynasty":223,"author":13789,"museum":20,"description":32578,"tags":39102,"thumbUrl":39103,"material":1218,"size":32581,"collection":179,"collections":39104,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},231389,"huang-shan-tu-ce-8-zhen-mei-qing-231389","黄山图册8帧",[24,114,118,385,30,31,37,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec21768437056d5d3bfa94ad15fa026b.jpg",[],{"id":39106,"slug":39107,"title":20557,"dynasty":223,"author":2792,"museum":459,"description":12705,"tags":39108,"thumbUrl":39109,"material":808,"size":809,"collection":179,"collections":39110,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},230925,"shan-shui-tu-shan-mian-wang-hui-230925",[24,2895,114,118,30,7,115,117,500,342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c843009ff7eae11222537a7e27c9da.jpg",[],{"id":39112,"slug":39113,"title":39114,"dynasty":223,"author":2792,"museum":459,"description":12705,"tags":39115,"thumbUrl":39116,"material":808,"size":809,"collection":179,"collections":39117,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},230924,"xi-tang-hua-bie-tu-wang-hui-230924","溪堂话别图",[24,25,2895,114,118,30,7,64,204,116,115,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3b2d257e93d1057e95b449ccd79ed5.jpg",[],{"id":39119,"slug":39120,"title":39121,"dynasty":3235,"author":8170,"museum":459,"description":8171,"tags":39122,"thumbUrl":39123,"material":808,"size":809,"collection":179,"collections":39124,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":49},230642,"rembrandt-harmensz-van-rijn-030-lun-bo-lang-230642","Rembrandt Harmensz.van Rijn - 030",[3239,9939,63,64,115,7,10864,61,17658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff980775fb95df8229b0b3bdb63d90cc5.jpg",[],{"id":39126,"slug":39127,"title":3901,"dynasty":223,"author":9303,"museum":459,"description":27314,"tags":39128,"thumbUrl":39129,"material":808,"size":809,"collection":179,"collections":39130,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":128},230352,"shan-shui-ce-liu-yu-230352",[24,114,118,385,25,153,120,30,115,62,7,117,1290,386,488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb46bf774b4ee06c53bb0d0f4bef3403.jpg",[],{"id":39132,"slug":39133,"title":39134,"dynasty":223,"author":39135,"museum":459,"description":39136,"tags":39137,"thumbUrl":39138,"material":179,"size":179,"collection":179,"collections":39139,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":49},230252,"hu-shan-sheng-jing-tu-wan-shang-lin-230252","湖山胜境图","万上遴","以大青绿设色晕染湖山，远景层峦迤逦，青碧山峦如翡翠层叠舒展，林树错落点染岸渚，晕开清寂悠远的山野意趣。\n中幅湖面空蒙开阔，数帆缓行、舟楫往来，为静穆烟波晕开灵动生气。近岸山居枕水而建，花树环拥亭台，青绿皴染的坡岸雅致温润；下方城楼依水伫立，牵起市井烟火与丘林幽秀的相融之境。\n古雅厚重的赭石底色晕开沉朴古韵，青绿石色提亮山水层次，将庙堂规整与林泉幽秀揉合，尽展江南湖山的安和清宁，是兼具写实意趣与文人雅韵的青绿佳构。",[23,24,25,27,28,30,62,116,115,34,7,500,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7d75c51828938af5b421c7b261fab1.jpg",[],{"id":39141,"slug":39142,"title":39143,"dynasty":223,"author":434,"museum":459,"description":39144,"tags":39145,"thumbUrl":39148,"material":808,"size":809,"collection":179,"collections":39149,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":49},229578,"tong-tai-hua-fa-lang-xi-yang-ren-wu-guan-yin-ping-1-yi-ming-229578","铜胎画珐瑯西洋人物观音瓶-1","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[565,39146,37858,23948,39147,156,591,7,35,1525],"铜胎","西洋人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F670d228ea343cdfe0d843ccace0bd3ec.jpg",[],{"id":39151,"slug":39152,"title":39153,"dynasty":223,"author":434,"museum":459,"description":39154,"tags":39155,"thumbUrl":39157,"material":808,"size":809,"collection":179,"collections":39158,"showCount":467,"zanCount":48,"manualWeight":48,"mainColor":49},229062,"qian-long-ci-tai-yang-cai-xi-yang-ren-wu-shan-shui-huo-lian-he-yi-ming-229062","乾隆 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Nude Woman Seated Beside a Brook","这幅水墨速写以浓淡晕染织就幽密林野，溪畔裸女支颐静憩，似沉眠又若凝思。暗沉树丛揉碎天光，将郊野晕成朦胧暗影，唯有少女柔润躯体破开深郁，成为画面鲜活的锚点。\n\n画家以写意铺陈林野苍茫，又以细腻线条勾勒肩颈起伏与松弛肢体，明暗对照里晕开慵懒寂寥的氛围。干湿变化的墨色晕出郊野湿润清寂，隔绝白日喧扰，只剩独属少女的松弛片刻。私密又温柔的静穆里，漫溢出怅然诗意，层次丰盈的笔墨让幽谧氛围浸透纸面。",[24736,114,4310,170,64,7,42106],"沉思","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7626de93bd8a8e0a2f080f529a4ddabd.jpg",[],{"id":42110,"slug":42111,"title":42112,"dynasty":3235,"author":434,"museum":459,"description":42113,"tags":42114,"thumbUrl":42118,"material":808,"size":809,"collection":179,"collections":42119,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},289139,"marco-ricci-capriccio-with-roman-ruins-yi-ming-289139","Marco Ricci--Capriccio with Roman Ruins","这幅画以残垣织就怀古梦境，将罗马废墟揉入抒情景致。斑驳拱券残存铭文，诉说岁月侵蚀的沉疴，虬曲斜枝携霜红枝叶晕开萧瑟秋意。石狮子盘踞高座，鬃毛的粗粝纹理凝固旧日威严，下方匠人在残石间忙碌，为荒颓废墟暗涌进鲜活生机。远景城郭轻笼烟霭，另一处颓败殿宇隐在林梢，暖调柔光漫过断壁，将怀古怅惘晕成温柔底色。画作以细腻笔触平衡沧桑与鲜活，把虚构的残景绘成带着呼吸的诗意挽歌，引观者沉陷古典余韵的温柔怅惘之中。",[3239,28,42115,9951,42116,7039,61,42117,7,8242,19476],"古罗马遗迹","石柱","残垣断壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d8e2b9a0bf24480d362f20cc1de8e4.jpg",[],{"id":42121,"slug":42122,"title":42123,"dynasty":3235,"author":434,"museum":459,"description":42124,"tags":42125,"thumbUrl":42127,"material":808,"size":809,"collection":179,"collections":42128,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},288776,"richard-earlom-leaf-from-aedes-walpolianae-mounted-yi-ming-288776","Richard Earlom--Leaf from Aedes Walpolianae mounted","上部蚀刻画以细腻线条塑出长发男子侧颜，昂起的下颌与望向上方的眼眸，漫溢出怅惘又带着期许的神色，发丝层叠分明，光影刻画出面部起伏肌理，将浪子的漂泊愁绪揉进细节里。\n\n下方水彩速写晕染出朦胧乡野，林木错落间浅描出三两乡人与屋舍，松弛的笔触晕开山野意趣，铺就出安宁的归处图景。\n\n两种质感的创作并置，蚀刻的锐利紧致与水彩的柔润松弛形成反差，暗合着出走与归乡的情绪拉扯，让人像的孤绝和乡野的温软形成细腻的叙事张力。",[25827,24736,4310,9939,42126,7,2920],"长发男子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42847261258c7f57e1f978959f16215.jpg",[],{"id":42130,"slug":42131,"title":42132,"dynasty":3235,"author":434,"museum":459,"description":42133,"tags":42134,"thumbUrl":42135,"material":808,"size":809,"collection":179,"collections":42136,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},288705,"william-trost-richards-sketchbook-of-new-england-yi-ming-288705","William Trost Richards--Sketchbook of New England","这幅素描以松灵的排线铺陈水岸暮色，近景虬曲矮枝错落排布，笔调随性晕染出郊野草木的生趣。水岸林木疏密有致，以层层短线勾勒出叶片蓬松质感，树影在镜面般的水面晕开，模糊实景与虚像的边界，揉碎了柔和天光。\n\n远景村镇融在朦胧雾气之中，尖顶塔楼成为视觉锚点，将视线引向悠远灰调天际。画作以细腻明暗过渡拉开空间层次，带着松弛的临场写生感，将日暮河畔的湿润水汽与慵懒晚风揉进铅色里，定格乡野河畔的恬然静谧，尽显自然乡野的温柔诗意。",[24736,8242,7,33,9085,138,156,4311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121ba0c17ed7683a29196f0154266e1c.jpg",[],{"id":42138,"slug":42139,"title":42140,"dynasty":3235,"author":434,"museum":459,"description":42141,"tags":42142,"thumbUrl":42145,"material":808,"size":809,"collection":179,"collections":42146,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},288622,"jean-franc-ois-millet-sheepshearing-beneath-a-tree-yi-ming-288622","Jean-François Millet--Sheepshearing Beneath a 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趣，是颇具韵味的诗画小品。",[24,25,385,114,118,30,7,117,115,500,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa968d303918aea8174df42cea756d2cb.jpg",[],{"id":42438,"slug":42439,"title":42440,"dynasty":223,"author":29516,"museum":459,"description":32166,"tags":42441,"thumbUrl":42442,"material":808,"size":809,"collection":179,"collections":42443,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},239494,"shan-shui-ce-6-shang-guan-zhou-239494","山水册6",[24,385,114,118,30,117,7,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d54b4879be849494ef55198c05878d.jpg",[],{"id":42445,"slug":42446,"title":17747,"dynasty":223,"author":29516,"museum":459,"description":32166,"tags":42447,"thumbUrl":42448,"material":808,"size":809,"collection":179,"collections":42449,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},239493,"shan-shui-ce-5-shang-guan-zhou-239493",[24,25,385,114,118,30,289,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb045e6d49fa6f42150510c7d063e3d3d.jpg",[],{"id":42451,"slug":42452,"title":37892,"dynasty":223,"author":12234,"museum":459,"description":42453,"tags":42454,"thumbUrl":42455,"material":179,"size":179,"collection":179,"collections":42456,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},239378,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239378","此作以干笔淡墨绘就冬日水村，取景清寂淡远。近岸老木虬曲苍劲，石拱桥卧于浅溪之上，将目光牵向水畔幽居。中洲孤亭枕水，枯林错落坡陀，远景汀洲朦胧晕染，留白铺展出烟水空濛之态。\n\n边角题诗与画意浑然相融，无繁复皴染，却将冬夜清寒静谧铺陈尽致。笔致松秀空灵，尽显文人画简淡天真的雅逸格调，把幽居寄兴、耽恋林泉的隐逸情思藏在淡墨轻岚之中，尽显闲寂出尘的林下之风。",[24,385,114,30,118,63,116,579,289,994,117,1390,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a700c6cfc566e3df68eb9cf7dc7ed1.jpg",[],{"id":42458,"slug":42459,"title":37892,"dynasty":223,"author":12234,"museum":459,"description":42460,"tags":42461,"thumbUrl":42462,"material":179,"size":179,"collection":179,"collections":42463,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},239373,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239373","此作用淡墨晕开烟岚，远山如黛隐于薄雾，铺陈出空寂清远的山水层次。近景篱舍错落相依，古木虬曲伴小桥石径，隅角亭台隐在淡霭之中，处处漫着清和闲逸的诗意。\n\n笔意松秀简淡，以浅淡设色晕染出清润柔和的氛围，无浓艳雕琢，尽显文人画雅致格调。题跋书法秀逸与画面相映成趣，诗画相生，将载月闲居的雅趣融于山水间，把月夜郊居的静谧安然尽数铺陈，尽显中式水墨留白意趣，传递出悠游林泉、寄情山水的文人情致。",[24,25,385,28,114,118,30,62,7,117,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa891dbbe51a0cb41d51437aceb4f6bb5.jpg",[],{"id":42465,"slug":42466,"title":3901,"dynasty":223,"author":37900,"museum":459,"description":42467,"tags":42468,"thumbUrl":42469,"material":179,"size":179,"collection":179,"collections":42470,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},239351,"shan-shui-ce-lin-fu-chang-239351","此作近岸苍松挺劲，浓墨点簇松针，生机勃发，坡岸村居黛瓦素墙，隐于林间，晕开悠然乡居意趣。中景平湖如镜，淡墨晕出水汽朦胧之态，对岸林木错落，色墨交织层次明晰。远景危峰高耸，枯笔勾勒皴擦山石，敷以浅赭淡青，兼具厚重质感与清逸气韵。\n\n右上角题字落款，笔墨相映，融诗画为一体。全幅章法疏密得当，以淡彩浅墨营造出清旷淡远的山居雅境，笔致秀润雅致，尽显传统文人山水的写意风神，漫溢出平和冲淡的隐逸意趣。",[152,24,25,385,28,114,118,30,540,35,117,7,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faead99b79c601ad5ccfc1e361a07e6f9.jpg",[],{"id":42472,"slug":42473,"title":3901,"dynasty":223,"author":37900,"museum":459,"description":42474,"tags":42475,"thumbUrl":42476,"material":179,"size":179,"collection":179,"collections":42477,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},239350,"shan-shui-ce-lin-fu-chang-239350","此作用水墨写就，以留白铺陈云海，虚灵空蒙间衬出山峦雄浑。浓墨点染主峰苍劲厚重，淡墨晕染次峰迤逦朦胧，干湿浓淡尽得墨色变幻之妙。右下隅山居藏于林木烟岚之中，简笔勾勒却意态自足，暗合林泉高致的隐逸之趣。左上角题字落款，文气悠然，与山水意境融为一体。整幅画面以简驭繁，淡远萧疏，将山峦的沉凝与云气的轻盈相互映衬，寥寥数笔便晕染出悠远空寂的山野氛围，尽显传统文人山水寄情丘壑、澄怀观道的意韵。",[24,114,118,385,30,62,341,881,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fce698aa7bcc66009dbacc3381c871d.jpg",[],{"id":42479,"slug":42480,"title":3901,"dynasty":223,"author":37900,"museum":459,"description":42481,"tags":42482,"thumbUrl":42483,"material":179,"size":179,"collection":179,"collections":42484,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},239345,"shan-shui-ce-lin-fu-chang-239345","此帧以水墨写意摹黄鹤山人笔意，绘就江岸山居之景。危崖层叠而上，古松虬枝蟠曲、针叶郁苍，崖下临江水榭错落，随波漾出闲静意趣。右侧半山楼阁崔嵬，山道蜿蜒隐于林木间，远山晕在烟霭之中，淡如浅黛。\n作者以干湿互用的墨色皴擦山石，苍润兼具。笔致松灵秀逸，淡墨晕染烟岚，虚实相生间晕出空濛淡远的诗意，将萧散简远的元人山水意趣融于尺幅，把林泉高致的隐逸氛围烘托得恰到好处，尽显文人水墨的雅致淡远。",[24,25,385,114,118,30,62,7,117,500,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10bfe30e11280413a72d3a3add57576.jpg",[],{"id":42486,"slug":42487,"title":3119,"dynasty":223,"author":29148,"museum":459,"description":42488,"tags":42489,"thumbUrl":42490,"material":179,"size":179,"collection":179,"collections":42491,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},239301,"fang-gu-shan-shui-ce-wu-lin-239301","吴麐（1691～1772），字粟园，一作粟原，一字尧圃，安徽歙县籍，家江西景德镇。其家有景德镇古窑，与唐熊年三窑并称吴窑。山水学黄公望，以疏散简淡为主，用墨干湿相参不见痕迹，长于小幅，若大幅则病其翠弱，亦不多见。生平有古君子风，老客扬州汪贻士家。",[24,114,958,385,118,30,7,117,156,500,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58825ff8e3a00ed4e95eef7faaa67260.jpg",[],{"id":42493,"slug":42494,"title":25312,"dynasty":223,"author":14123,"museum":459,"description":42495,"tags":42496,"thumbUrl":42497,"material":179,"size":179,"collection":179,"collections":42498,"showCount":11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禅意自生。\n枯柳寒木虬枝错落，淡墨晕染出积雪留白，笔法清润秀雅，将冬日元气暗藏于冷寂间。右上角题诗与画境相映，诗画相融，把江南雪后梵刹的空灵悠然铺展开来，淡远含蓄的古意扑面而来，令人沉湎在这份冷雅安宁之中。",[152,24,25,385,28,30,62,488,63,7,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde125e9d55a9325d0a01ab1425d1a1db.jpg",[],{"id":43207,"slug":43208,"title":380,"dynasty":223,"author":36755,"museum":459,"description":36756,"tags":43209,"thumbUrl":43210,"material":808,"size":809,"collection":179,"collections":43211,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235921,"shan-shui-tu-ce-mei-chong-235921",[24,25,385,114,30,289,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635d8c96de649bef05d32908f7072d22.jpg",[],{"id":43213,"slug":43214,"title":3901,"dynasty":54,"author":11101,"museum":459,"description":43215,"tags":43216,"thumbUrl":43217,"material":179,"size":179,"collection":179,"collections":43218,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235820,"shan-shui-ce-li-liu-fang-235820","此帧以淡墨晕染远山，寥寥数笔便勾勒出清旷空蒙之态。近岸古木虬曲，枝桠错落，枯笔勾勒尽显苍劲质感，林下村居掩映于草木间，野趣横生。\n\n画作以干笔皴擦，墨色层次清雅简淡，摒弃繁复晕染，将秋日江岸的疏寂淡远尽数铺展。左侧题跋点明其自开生面的画格，脱却陈规旧法，以书入画，笔意萧散沉静，尽显文人山水的简率风神，将江南秋岸的幽寂意蕴融于笔墨，寄寓着林泉高致的文人襟怀。",[24,25,385,114,228,118,30,7,35,117,21983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9036cf8cc485a93ef0a54c3227ddc479.jpg",[],{"id":43220,"slug":43221,"title":36948,"dynasty":223,"author":43222,"museum":459,"description":43223,"tags":43224,"thumbUrl":43225,"material":179,"size":179,"collection":179,"collections":43226,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235783,"zhu-jia-shu-hua-he-bi-ce-shan-shui-ye-wu-shi-rui-235783","吴世睿","这幅山水以平远之法铺陈，近岸苍木错落，茅舍隐于林麓，板桥卧波漾着野趣。渐远则田畴层叠、村舍依依，远山以淡墨晕染，虚实相生，将江南郊野的温润清寂尽数铺陈。\n\n笔墨简淡秀雅，线条松灵含蓄，皴擦晕染皆出自然，尽显文人画萧散意趣。对开草书笔意纵逸跌宕，与山水清逸相得益彰。书画合璧，将观景寄情的雅趣藏在尺幅间，淡而弥远，耐人寻味。",[24,25,385,114,120,118,30,7,35,63,64,74,2796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff247532932a57842612aa76893757df0.jpg",[],{"id":43228,"slug":43229,"title":43230,"dynasty":54,"author":9719,"museum":459,"description":26311,"tags":43231,"thumbUrl":43232,"material":808,"size":809,"collection":179,"collections":43233,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235769,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wu-song-jiang-tu-ye-chen-chun-235769","吴门诸家寿袁方斋三绝册-吴淞江图页",[24,25,385,114,28,119,153,30,63,64,7,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098f5ef4d61784b2c3a4c75fb32b5218.jpg",[],{"id":43235,"slug":43236,"title":3901,"dynasty":223,"author":9303,"museum":459,"description":27314,"tags":43237,"thumbUrl":43238,"material":808,"size":809,"collection":179,"collections":43239,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235494,"shan-shui-ce-liu-yu-235494",[24,25,385,114,118,119,120,153,30,289,579,63,64,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8baf66db1615a9818a722bb646ef0e1.jpg",[],{"id":43241,"slug":43242,"title":43243,"dynasty":223,"author":434,"museum":459,"description":43244,"tags":43245,"thumbUrl":43246,"material":808,"size":809,"collection":179,"collections":43247,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235317,"ba-jia-shan-shui-ce-quan-xiu-zi-zhan-xiao-xiang-ce-ye-yi-ming-235317","八家山水册-诠修子瞻小像册页","此作对开以书画合璧呈现，右侧淡墨绘古松盘虬，枝干皴写苍劲，松针攒簇见郁茂生机。林下高士策杖缓行，童子随侍身侧，石边陈置茶器，野逸清寂，尽展林泉幽居的雅趣。\n\n左侧行书笔致萧散灵动，墨色浓淡错落，诗书相映，文气沛然。全作用笔洗练简淡，以少胜多，将文人寄情山水、耽于丘壑的幽怀融于尺幅，于简远疏淡间氤氲出悠长意境，尽显传统文人画的雅致韵致。",[24,25,385,28,61,7,289,119,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058ec6626100f74ea43503c833ef5901.jpg",[],{"id":43249,"slug":43250,"title":40998,"dynasty":54,"author":434,"museum":459,"description":43251,"tags":43252,"thumbUrl":43253,"material":808,"size":809,"collection":179,"collections":43254,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235145,"chen-dan-zhong-shan-shui-ce-yi-ming-235145","近岸怪石层叠错落，古松斜生遒劲清奇，寥寥松针点染出苍古生机。远江帆影孤悬，江波澹澹以留白代水韵，晕染出空濛烟波。\n\n笔墨苍秀淡雅，山石皴法朴拙简淡，淡墨晕开水汽空濛，将文人的林下闲逸藏于尺幅。诗画相映，以极简景致勾勒幽人寄情林泉、放怀天地的意趣，静中藏动，淡里含韵，尽显小品山水的悠远襟怀。",[24,25,385,114,30,115,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716d262a2c892cfde8cc3892627fb064.jpg",[],{"id":43256,"slug":43257,"title":40998,"dynasty":54,"author":434,"museum":459,"description":43258,"tags":43259,"thumbUrl":43260,"material":808,"size":809,"collection":179,"collections":43261,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235144,"chen-dan-zhong-shan-shui-ce-yi-ming-235144","此作用淡墨写意绘就山林村居之景，古木虬枝苍郁繁茂，以浓墨点染苔痕木叶，蓊蓊郁郁间，林麓茅庐隐现，留白作水，清寂空远，尽显幽居野逸之趣。\n\n左侧行书题诗笔墨清隽，与画作意境相融，诗画合璧，勾勒出避世耽书、自适林下的襟怀。简淡萧疏的笔致里，浸透了文人追慕林泉高致的隐逸意趣，虽笔调简率，却以少胜多，将山野幽居的恬然之境晕染尽致，尽显静绝尘嚣的林下雅意。",[24,25,385,114,30,7,117,116,120,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387a0f3dfe3745d52e9198594c3015.jpg",[],{"id":43263,"slug":43264,"title":40998,"dynasty":54,"author":434,"museum":459,"description":43265,"tags":43266,"thumbUrl":43267,"material":808,"size":809,"collection":179,"collections":43268,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235142,"chen-dan-zhong-shan-shui-ce-yi-ming-235142","此帧以淡墨轻色绘就秋江暮色，近岸丹林疏朗，村居隐于林下，丘峦平缓迤逦，渐次融入空蒙江面。水天尽处归雁点点，漾开清寂辽远之意。笔墨秀润淡雅，设色轻净明净，晕染出萧散清和的秋日氛围。左侧题诗与山水相映成趣，书画合璧，尽显文人寄情林泉的雅逸襟怀，将秋江空寥与山居悠然相融，藏着归林向野的隐逸意趣。",[24,25,385,114,28,30,7,117,118,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e80d2d004d069b09a793ae5ff91384b.jpg",[],{"id":43270,"slug":43271,"title":40998,"dynasty":54,"author":434,"museum":459,"description":43272,"tags":43273,"thumbUrl":43274,"material":808,"size":809,"collection":179,"collections":43275,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235140,"chen-dan-zhong-shan-shui-ce-yi-ming-235140","此作以没骨间杂浅绛晕染山峦，峰尖如黛，云雾在林麓间缓缓氤氲，将青碧山石与丹红霜叶晕融成朦胧空濛的秋山图景。山径蜿蜒隐没于茂草霜林间，萧索秋意裹着幽寂禅意漫开。\n\n笔意秀雅温润，以水色糅合墨韵消解了线条的凌厉，明丽设色又带着沉静质感，将晚秋山野的清旷萧寒含蓄铺展。左侧题诗与画境呼应，诗画合璧，点破万籁俱寂的深秋天光，尽显晚明山水崇尚的淡远萧疏之美，是文人寄情丘壑，以景抒怀的典型佳构。",[24,25,385,28,30,63,64,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232dcaea0c8b8b7c0d9fdd2d9376772e.jpg",[],{"id":43277,"slug":43278,"title":3901,"dynasty":223,"author":647,"museum":459,"description":43279,"tags":43280,"thumbUrl":43281,"material":179,"size":179,"collection":179,"collections":43282,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235111,"shan-shui-ce-wang-yuan-qi-235111","此作以层叠山峦铺展全景，危崖高耸，造景开合有致。近岸乱石错落，林木疏朗，山居民舍隐于林麓溪畔，漾着幽寂雅致的山居意趣。\n\n笔墨以干笔积墨皴擦，淡墨晕染铺陈，写出山石苍浑厚重的质感，兼具拙朴苍润之致，承袭南宗山水的雅正脉络。整幅画面气息静谧淡远，将山川苍古秀润之态收束尺幅间，藏着文人寄情林泉、避世幽居的隐逸襟怀，尽显正统山水画的沉静格调。",[24,25,385,114,118,28,30,117,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd543d68d24f3e814ff5977dabb06f50b.jpg",[],{"id":43284,"slug":43285,"title":3901,"dynasty":223,"author":647,"museum":459,"description":43286,"tags":43287,"thumbUrl":43288,"material":179,"size":179,"collection":179,"collections":43289,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235110,"shan-shui-ce-wang-yuan-qi-235110","此作用笔沉厚苍润，层叠山峦取高远之致，以干笔积墨反复皴擦山石，以披麻皴糅合解索皴写就嶙峋石骨，线条凝练扎实，层层晕染间尽显山石厚重质感。山间栈道隐于林木间，幽溪萦回谷底，留白铺就空寂悠远的林下意境。\n\n画作将宋人的丘壑格局与元人的笔墨意趣相融，规整章法里藏着生拙苍劲的意趣，层层积墨却毫无壅塞之感，气韵浑穆苍秀，尽显正统山水的沉静内敛，把文人山水的笔墨意韵与丘壑情怀融于笔底，尽显深厚笔墨功力。",[24,25,385,114,118,30,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5956aea488a4d1f607d5faec51093f60.jpg",[],{"id":43291,"slug":43292,"title":3901,"dynasty":223,"author":647,"museum":459,"description":43293,"tags":43294,"thumbUrl":43295,"material":179,"size":179,"collection":179,"collections":43296,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235107,"shan-shui-ce-wang-yuan-qi-235107","此作以渴笔淡墨铺展云山景致，层叠山峦以干笔皴擦勾勒嶙峋石骨，苍松错落在岩缝间虬劲挺拔。氤氲云海缠绕峰麓山腰，虚实相生，将冬日山林清寂萧寒又奇崛雄浑的意境缓缓铺陈。\n画风苍浑秀润，既带着黄公望浅绛山水的遗韵，又尽显熟中求生的笔墨法度，简淡中见苍茫厚重，留白处蒸腾着空蒙灵气，静穆山川的生机尽藏在枯淡笔意里，带着沉静内敛的文人雅韵，尽显娄东山水的典型意趣。",[24,25,385,114,118,30,117,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a16aaa414e41040f634975102937df.jpg",[],{"id":43298,"slug":43299,"title":3901,"dynasty":223,"author":647,"museum":459,"description":43300,"tags":43301,"thumbUrl":43302,"material":179,"size":179,"collection":179,"collections":43303,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},235105,"shan-shui-ce-wang-yuan-qi-235105","此作以开合之景铺陈丘壑，近岸林木错落，山居藏于深篁，行人策蹇徐行，野趣自生；中崖崔嵬蓊郁，水湾汀渚勾连景深；远景烟波澹澹，以淡墨晕染远山，留白拓出空蒙悠远之境。\n笔墨承袭娄东一派，干笔积墨皴擦苍润浑厚，墨色层叠通透，浅赭敷色清隽雅致，揉合江南山水秀逸与山川厚重温润，于细密笔触间藏着林泉悠游的文人意趣，尽显正统山水的沉静古韵，将幽居林壑的雅兴融于尺幅之中。",[24,25,385,118,114,30,341,342,7,116,117,32,2421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fb96223967675c054e83d8e58173349.jpg",[],{"id":43305,"slug":43306,"title":43307,"dynasty":223,"author":43308,"museum":459,"description":43309,"tags":43310,"thumbUrl":43311,"material":179,"size":179,"collection":179,"collections":43312,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},235069,"zhu-jia-shan-shui-ce-ye-hua-hui-ye-wang-jing-235069","诸家山水册页-花卉页","王敬","此作用淡墨晕染远山，以披麻皴轻写山峦肌理，笔墨松秀柔润，晕出烟雨溟蒙的空寂氛围。近处水岸错落，苍松扶苏含翠，柳丝轻笼烟岚，板桥茅舍、水上亭台次第铺陈，取景简淡却层次丰盈，尽显江南水村的清润闲雅。\n题诗与画面相映成趣，诗画交融，以极简笔致勾勒幽远静穆的林下诗意，尽显文人画尚简重意的特质。笔致萧散空灵，淡而不薄，简而愈远，悠悠见出林下清寂的隐逸襟怀，整体氤氲着静雅出尘的水墨诗意。",[24,114,118,385,30,116,63,64,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113368b18e266db2890ec5f45fafef56.jpg",[],{"id":43314,"slug":43315,"title":43316,"dynasty":54,"author":4131,"museum":459,"description":31280,"tags":43317,"thumbUrl":43318,"material":808,"size":809,"collection":179,"collections":43319,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},234936,"hua-shan-shui-hong-li-shu-chu-li-zheng-men-guan-jia-qi-lv-cheng-shan-wen-jia-234936","画山水弘历书出丽正门观稼七律成扇",[24,25,2895,114,118,30,7,61,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf216df46a4081170a214ae4d9e58148.jpg",[],{"id":43321,"slug":43322,"title":3901,"dynasty":223,"author":2985,"museum":20,"description":32459,"tags":43323,"thumbUrl":43324,"material":179,"size":179,"collection":179,"collections":43325,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},234800,"shan-shui-ce-dong-bang-da-234800",[24,25,114,118,385,30,7,117,243,502,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74e6a3a64b12c015bae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显传统山水画的雅致韵味。",[30,118,114,28,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177d59b8ed0a50ab428056a26d48a73c.jpg",[124],"b2a189",{"id":44614,"slug":44615,"title":44616,"dynasty":54,"author":11101,"museum":111,"description":44617,"tags":44618,"thumbUrl":44619,"material":179,"size":179,"collection":124,"collections":44620,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":44621},201379,"xi-shan-mao-wu-tu-zhou-li-liu-fang-201379","溪山茅屋图轴","画面以水墨为基调，山石以皴法皴染结合，线条苍劲朴拙，勾勒出山峦的雄浑肌理与层次。溪边林木错落，枝叶疏密有致，墨色浓淡相生，尽显自然野趣。茅屋隐于林麓间，与山水相融，似藏隐逸之境，传递出清幽静谧的文人意趣。溪流蜿蜒，水纹轻描淡写，添灵动之气。整体风格简淡雅致，笔墨间饱含淡泊情怀，尽显明代文人山水的典型韵味，于简素中见深远，于静谧中藏生机。",[24,202,30,114,118,7,206,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c360342c6d1daf06d17beca0e54.jpg",[124],"b39778",{"id":44623,"slug":44624,"title":26303,"dynasty":54,"author":8650,"museum":111,"description":44625,"tags":44626,"thumbUrl":44627,"material":179,"size":179,"collection":124,"collections":44628,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":42071},201349,"shan-shui-shan-lan-ying-201349","这幅山水扇面笔墨苍劲，山石以刚健皴法勾勒，线条转折利落，墨色浓淡相宜，层次丰富。林木繁密交错，枝叶形态各异，尽显生机。弧形扇面构图紧凑却错落有致，景物随扇骨弧度铺展，营造出深远空间感。山间隐现小径，似藏幽居之趣，整体意境静谧幽深，兼具雄浑与雅致之韵。",[24,2895,30,118,28,117,7,114,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba6855fcbe9fd04e33f78f23152e4f3.jpg",[124],{"id":44630,"slug":44631,"title":44632,"dynasty":133,"author":355,"museum":111,"description":44633,"tags":44634,"thumbUrl":44635,"material":179,"size":179,"collection":124,"collections":44636,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":44637},201336,"tian-xiang-shen-chu-tu-zhou-wang-meng-201336","天香深处图轴","层叠山峦间，皴法交织如织，笔墨苍劲中见细腻，山石肌理毕现。林间屋舍隐于葱茏树影，小桥卧波，流水萦回，山石错落间野趣横生。构图繁密却气韵生动，墨色浓淡相宜，勾勒出幽深静谧的雅士栖居之境，尽显元人山水的笔墨情韵与文人风骨。",[24,152,25,202,114,30,118,35,63,64,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17430a553174f4b5d5b8f94c757c1a9.jpg",[124],"958472",{"id":44639,"slug":44640,"title":44641,"dynasty":3235,"author":434,"museum":459,"description":44642,"tags":44643,"thumbUrl":44644,"material":808,"size":809,"collection":179,"collections":44645,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289547,"attributed-to-matthijs-cock-landscape-with-a-town-by-the-seashore-yi-ming-289547","Attributed to Matthijs Cock--Landscape with a Town by the Seashore","以棕褐线条晕开山海乡居图景，近坡荒草萋萋，几株古木虬曲苍劲，疏朗枝桠晕染山野意趣。坡下石桥横跨浅溪，矮屋簇拥钟楼漫出烟火暖意。\n视线铺展至中远景，滨海屋舍错落着融入山岚，海面扁舟轻泊，朦胧远山柔化了天地边界。笔触克制细腻，以极简线条铺陈层次，不着浓丽色彩，却将郊野渔村的松弛日常揉进阔远天地间，藏着古朴写实的质感，把山海乡野的静穆悠远晕在纸面，尽显古典风景绘作里含蓄温柔的自然意趣。",[9939,24736,30,5759,28750,7,63,788,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadbf5e3a353af94ff6a0b1e0715beafd.jpg",[],{"id":44647,"slug":44648,"title":44649,"dynasty":3235,"author":434,"museum":459,"description":44650,"tags":44651,"thumbUrl":44653,"material":808,"size":809,"collection":179,"collections":44654,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},289546,"attributed-to-peter-de-wint-landscape-with-a-rock-wall-yi-ming-289546","Attributed to Peter De Wint--Landscape with a Rock Wall","这幅风景速写以灰调铺就沉静底色，用水色晕染揉合出林间岩壁的幽寂氛围。深色块晕染出上方林莽的阴翳朦胧，留白与淡墨勾画出岩壁层叠的断面，棱角被水汽柔化，却依旧带着山石的厚重质感。\n\n前景滩涂以枯笔扫过，浅淡的水痕漫出湿润的松弛感，和岩壁的硬朗形成微妙反差。画师以极简的明暗层次，铺陈开山野间潮湿静谧的氛围，没有刻意雕琢的细节，用虚实相生的笔触，让岩壁与林莽融在氤氲水汽里，仿佛能嗅到林间潮润的草木气息，将郊野一隅的松弛安然定格下来。",[39867,9939,38593,7,413,44652],"淡彩晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621e3c385337cbe5a0b42a14488b04b8.jpg",[],{"id":44656,"slug":44657,"title":44658,"dynasty":3235,"author":434,"museum":459,"description":44659,"tags":44660,"thumbUrl":44661,"material":808,"size":809,"collection":179,"collections":44662,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289525,"aureliano-milani-hilly-landscape-with-three-figures-yi-ming-289525","Aureliano Milani--Hilly Landscape with Three Figures","以红粉笔晕开乡野意趣，前景虬曲古木占据左侧画面，苍劲枝干肆意舒展，叶片晕染出蓬松生机，深褐阴影稳稳锚定视觉重心。右侧坡地三两旅人暂作休憩，姿态松弛自然，为静谧山野晕开一抹烟火暖意。\n\n丘陵层叠向着远方漫延，错落村舍依山势铺陈，石砌屋宇与尖顶隐现于林木之间，光影顺着起伏山势缓缓铺展，将郊野的安闲松弛娓娓晕开。朴拙随性的笔触感揉合着山野的鲜活与悠然，把丘林乡野的松弛意态铺陈纸面，藏着独属于郊野的温柔闲静。",[24736,30,61,7,138,9775,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbac8ac1049ce7cae64849dc0cc2e580.jpg",[],{"id":44664,"slug":44665,"title":44666,"dynasty":3235,"author":434,"museum":459,"description":44667,"tags":44668,"thumbUrl":44670,"material":808,"size":809,"collection":179,"collections":44671,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289514,"bartholomeus-breenbergh-view-of-an-italian-town-yi-ming-289514","Bartholomeus Breenbergh--View of an Italian Town","这幅画以棕褐墨色晕染出明暗层次，暖光铺洒在崖壁与石屋之上，将粗糙的岩石肌理与砖石棱角晕出柔和暖意，背光的峡谷与林木沉在浓郁的棕调阴影里，明暗拉扯出深邃纵深感。\n\n依山错落的屋舍顺着崖坡排布，峡谷间隐现细瀑流泉，野树虬曲扎根岩壁，荒蛮野趣与烟火聚落融为一体。随性的笔触精准抓住南欧山城的慵懒质感，仿佛能听见山风裹着溪水声漫过石墙，将松弛沉静的乡野氛围娓娓道来，藏着旧时光里山城独有的安然意韵。",[9939,24736,44669,2906,788,7,204,4311],"山城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe3a2ef1108fe29ec6bd2a85a4334ea1.jpg",[],{"id":44673,"slug":44674,"title":44675,"dynasty":3235,"author":434,"museum":459,"description":44676,"tags":44677,"thumbUrl":44680,"material":808,"size":809,"collection":179,"collections":44681,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289505,"battista-franco-moses-drawing-water-from-the-rock-yi-ming-289505","Battista Franco--Moses Drawing Water from the Rock","蚀刻粗粝的线条铺展开旷野神迹：左侧摩西抬手叩击岩壁，清泉蜿蜒破石而出。右侧流民们一扫跋涉的疲惫，或俯身掬水畅饮，或振臂欢呼，驮负行囊的牲畜混迹人群之间，将逃荒旅途的困顿与获水的狂喜交织一处。\n\n远景山林以疏密排线晕染层次，嶙峋山石与苍郁林木勾勒出荒野的苍凉壮阔，明暗对比烘托出神迹的庄严厚重。作品将宗教叙事的神圣感揉进世俗生活的烟火气里，以充满力量感的线条尽显叙事版画的张力，把绝境逢生的震撼演绎得淋漓尽致。",[26244,25827,61,91,117,7,44678,44679],"圣经故事","摩西取水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71aaad8663614aea666fa366fae94ee3.jpg",[],{"id":44683,"slug":44684,"title":44685,"dynasty":3235,"author":434,"museum":459,"description":44686,"tags":44687,"thumbUrl":44689,"material":808,"size":809,"collection":179,"collections":44690,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289486,"berthe-morisot-a-woman-seated-at-a-bench-on-the-avenue-du-bois-yi-ming-289486","Berthe Morisot--A Woman Seated at a Bench on the Avenue du Bois","以轻盈通透的水彩晕染，定格了松弛慵懒的午后闲憩瞬间。娴静端坐的女子头戴浅黄礼帽，温婉神态暗藏于简练的色块勾勒间，深色外套的利落笔触，和朦胧柔化的背景形成精妙反差。蓝白格纹雨伞成为视觉重心，水色交融晕开柔润光泽，随性灵动的笔触赋予其通透鲜活的质感。\n\n背景的林荫车马被淡彩虚化，暖褐与苍绿朦胧交织，将街头漫不经心的松弛氛围拉满。未做繁复描摹，仅以灵动写意的笔触捕捉日常瞬间的诗意内核，让闲适中的雅致情调在晕染的水色间缓缓流淌，将转瞬即逝的温柔日常定格为永恒的视觉诗行。",[39867,7526,30502,16504,18916,16503,8254,411,7,28,4310,44688],"休闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb558786407a4cffb7732631587b822a1.jpg",[],{"id":44692,"slug":44693,"title":44694,"dynasty":3235,"author":434,"museum":459,"description":44695,"tags":44696,"thumbUrl":44697,"material":808,"size":809,"collection":179,"collections":44698,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289322,"fra-bartolomeo-wooded-approach-to-a-town-yi-ming-289322","Fra Bartolomeo--Wooded Approach to a Town","这帧速写以松弛随性的棕调线条，定格郊野往市镇的沿路景致。苍劲林木错落排布，疏密交织出层次，高挑的针叶林与低矮杂木掩映着屋舍，细碎的线条刻画出枝干的苍劲质感。河畔与小径上的渺小人物，为静谧郊野晕开烟火暖意。\n\n大片留白的郊野路面以浅淡走线引导视线向深景漫溯，没有厚重明暗铺陈，仅以简练线条就铺展出郊野的开阔松弛。带着鲜活的写生临场感，将趋近市镇时悠然松弛的乡野日常，用朴素笔调细腻定格，尽显速写捕捉瞬间氛围的动人魅力。",[24736,9939,7,5759,18892,74,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7771ebc772f07343051e6678ac839053.jpg",[],{"id":44700,"slug":44701,"title":44702,"dynasty":3235,"author":434,"museum":459,"description":44703,"tags":44704,"thumbUrl":44708,"material":808,"size":809,"collection":179,"collections":44709,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289321,"francesco-albani-diana-bathing-yi-ming-289321","Francesco Albani--Diana Bathing","狩猎女神戴安娜沐浴方罢，侍从垂首为她打理足履，神态恭谨柔婉。灵动松弛的线条勾勒出女神柔美的躯体，淡墨晕染氤氲出朦胧林野，光影在肌肤与林间缓缓流淌，将神话场景揉进静谧郊野。\n\n背景里休憩的人马与蜷卧猎犬，晕开狩猎归来的余韵。随性却精准的笔触，将神祇的优雅闲适定格在暮色之中，古典柔美与自然意趣相融，寥寥几笔便晕生出悠然的神话诗意，把松弛静谧的郊野神性氛围铺陈开来。",[24736,4310,5741,10009,44705,90,44706,7,44707],"裸女","沐浴","狩猎女神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969f13539b2635d22f5d39901b030bd1.jpg",[],{"id":44711,"slug":44712,"title":44713,"dynasty":3235,"author":434,"museum":459,"description":44714,"tags":44715,"thumbUrl":44716,"material":808,"size":809,"collection":179,"collections":44717,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},289284,"perugino-landscape-recto-landscape-verso-yi-ming-289284","Perugino--Landscape (recto); Landscape (verso)","以灰调铺底，借白色提亮晕染出河谷晨景。前景水面凝敛，几处碎白点染粼粼波光，将郊野的湿润静谧晕开。坡地密林随山势铺展，白色扫过树冠，晕出枝叶蓬松柔润的质感，蜿蜒亮带如溪涧穿林而过，隐入深黛坡峦。\n整体笔触松弛朦胧，以极简明暗勾勒层次，将山野的幽寂闲和尽数藏进朦胧雾色中，仿佛能嗅见林间湿润的草木气息，静穆里带着自然鲜活的呼吸感，把郊野清晨的恬淡诗意揉进了温柔的灰调里。",[8242,477,7,3374,502,13495,24736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda9e54c1922edf852e0b4b2535ccea9.jpg",[],{"id":44719,"slug":44720,"title":44721,"dynasty":3235,"author":434,"museum":459,"description":44722,"tags":44723,"thumbUrl":44724,"material":808,"size":809,"collection":179,"collections":44725,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289280,"philips-koninck-river-landscape-with-a-man-standing-yi-ming-289280","Philips Koninck--River Landscape with a Man Standing","这幅风景画作以松弛晕染的笔触，铺陈出河畔乡野的日常图景。前景里临水搭建的糙顶棚屋静立浅岸，渔人垂身站在泊船边，身影凝定，将河畔的闲散氛围晕开。棕褐的泥岸蔓延向远方，水面映着天色漾开灰柔波纹，朦胧的林木错落分布，远处的村舍隐在轻雾般的色调里，消融在淡灰的天际下。\n\n整体色调沉柔质朴，泥土的暖棕与水色的冷灰相映，带着湿润的乡野气息，把郊野清晨或薄暮的慵懒静谧尽数封存，将平淡日常晕染出悠远的诗意，仿佛能听见河畔的风掠过林梢，漫着松弛治愈的乡野烟火气。",[3239,8242,32,34,788,7,61,10864,17658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c42e73892391f4d69050503328aa94.jpg",[],{"id":44727,"slug":44728,"title":44729,"dynasty":3235,"author":434,"museum":459,"description":44730,"tags":44731,"thumbUrl":44733,"material":808,"size":809,"collection":179,"collections":44734,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289273,"pierre-le-lu-the-church-of-sao-martinho-in-sintra-portugal-yi-ming-289273","Pierre Lélu--The Church of Sao Martinho in Sintra, Portugal","淡墨晕染出氤氲的乡野潮气，近景乡间小径上，农妇携幼缓步而行，将烟火气揉进山风里。中景植被错落交织，枝桠舒展的意趣被细腻线条一一铺陈，朦胧灰度晕开山野的鲜活生机。\n\n山坡高处的教堂静立林间，硬朗的建筑线条被柔化在繁茂绿意中，庄重古朴的形制与周遭的松弛生机相融。松弛的笔触定格下山城的悠然日常，将古寺肃穆与乡野温情温柔缝合，仿佛能听见山风掠过树梢的轻响，把这方天地的宁静恬淡封存在纸面之上。",[24736,13495,8242,44732,23113,7,61,502,18892,3314],"宗教建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782ec6ad079224300215ea2d66f2fe4e.jpg",[],{"id":44736,"slug":44737,"title":44738,"dynasty":3235,"author":434,"museum":459,"description":44739,"tags":44740,"thumbUrl":44743,"material":808,"size":809,"collection":179,"collections":44744,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289253,"pietro-da-cortona-the-triumph-of-nature-over-art-yi-ming-289253","Pietro da Cortona--The Triumph of Nature Over Art","古典庭院为幕，古树枝叶扶苏，雕花廊柱晕开巴洛克的华丽底色。中心女子仪态端然，静候着环绕而来的花环，自然的生机压过人工匠气。林神率孩童踏歌趋近，将枝蔓与花冠奉至她身侧，旁侧女子或仰首惊叹，或屈膝依偎，鲜活铺展出自然得胜的图景。\n\n棕褐走线松弛精准，明暗层次晕染灵动，光影游走于衣褶、廊柱之间，将巴洛克的动感揉入古典叙事。借群像互动，把自然凌驾匠艺的隐喻藏入线条肌理，让蓬勃生机与造物肃穆相映，将这场浪漫主题悄然叙说。",[24736,44741,4310,37813,5403,12031,7,5741,44742],"西洋画","凯旋主题","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b82868fab1a86bfe4d90c5679c29369.jpg",[],{"id":44746,"slug":44747,"title":44748,"dynasty":3235,"author":434,"museum":459,"description":44749,"tags":44750,"thumbUrl":44752,"material":808,"size":809,"collection":179,"collections":44753,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289248,"polidoro-da-caravaggio-the-holy-family-yi-ming-289248","Polidoro da Caravaggio--The Holy Family","这幅郊野休憩的场景以棕褐素描铺陈，线条松弛却精准勾勒轮廓。圣母拥着圣婴，姿态柔婉亲昵，身旁老妇温情注视，右侧老者垂首休憩，持果孩童依偎身侧，林间浅淡晕染的光影落在起伏衣褶上，将神圣叙事揉进烟火日常里。\n\n远景村落晕染朦胧，苍劲树影衬出郊野丘壑的空寂，让私密天伦融于天地间，褪去宗教肃穆，只剩寻常家眷的松弛安恬。明暗晕染柔和过渡，衣料褶皱的厚重质感，神态的细腻描摹，将静谧温情藏进每一笔排线，把圣家族拉下神坛，定格成治愈的午后片刻。",[24736,923,4310,44751,1170,7,2920,10585],"圣家族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee60ebb836c6d4a0bb7a6f8ad74280e.jpg",[],{"id":44755,"slug":44756,"title":44757,"dynasty":3235,"author":434,"museum":459,"description":44758,"tags":44759,"thumbUrl":44762,"material":808,"size":809,"collection":179,"collections":44763,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289244,"prince-and-dervish-yi-ming-289244","Prince and Dervish","画面里两人相对席地而坐，氛围恬然松弛。年轻人俯身托举酒盏，神态恭谦温顺；长髯老者捻须垂眸，沉静淡然，似在静悟交谈。背景花树悬坠鲜果，晕染出幽然世外的闲趣。\n\n整幅画作线条柔婉流畅，衣褶晕染细腻柔和，人物神情刻画入微，边框缠枝纹样繁复秀雅，烘托出古典静谧的氛围感，将贤者对坐的悠然禅意缓缓铺陈，传递出超脱世俗的闲适意境，尽显东方古典美学的沉静雅致。",[4310,44760,28,19423,35537,7,44761,688],"细密画","对坐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326697e5c29aa04550a1bebf97a2ca02.jpg",[],{"id":44765,"slug":44766,"title":44767,"dynasty":3235,"author":434,"museum":459,"description":44768,"tags":44769,"thumbUrl":44770,"material":808,"size":809,"collection":179,"collections":44771,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289238,"rembrandt-cottage-among-trees-yi-ming-289238","Rembrandt--Cottage among Trees","灵动松弛的线条铺陈出悠然乡野意趣，高大林木环拥着茅草小屋。苍劲枝干与蓬松叶丛形成疏密对比，线条浓淡晕染出林木的深浅层次，将郊野植被的蓬勃生机藏在笔锋起落间。蜿蜒土路漫向屋前，木栅栏随性散落，带着未经修饰的朴拙质感。\n\n全画未施繁复色彩，仅以利落速写笔触勾勒光影氛围，留白处任由乡野的静谧漫溢，将郊野日常的慵懒松弛定格在纸面。随性自然的笔触带着鲜活张力，把平凡乡居的清宁诗意娓娓道来，尽显速写捕捉刹那氛围感的动人魅力。",[24736,8242,10864,1289,7,5371,15578,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1674e477343fb08cadf003de8f85ddaf.jpg",[],{"id":44773,"slug":44774,"title":44775,"dynasty":3235,"author":434,"museum":459,"description":44776,"tags":44777,"thumbUrl":44778,"material":808,"size":809,"collection":179,"collections":44779,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289235,"rembrandt-group-of-farm-buildings-yi-ming-289235","Rembrandt--Group of Farm Buildings","这幅速写以朴拙笔墨铺陈乡野意趣，连片茅草农舍占据视觉中心，粗粝排线勾勒出蓬松厚实的草顶，笔意苍劲又带着随性松弛，将乡野建筑的粗粝质感尽数呈现。前景浅滩泽地，寥寥数笔勾出水畔荒草、零散木架，留白晕染出湿润空蒙的郊野氛围，淡墨点染的树丛错落点缀，柔化了建筑的硬朗轮廓。\n\n整幅画没有繁复雕琢，松弛的笔触间流淌着慵懒的乡野日常感，将郊农舍的静谧烟火气凝于纸面，仿佛能嗅见田埂间湿润的泥土气息，尽显质朴又鲜活的乡野意韵。",[39868,114,9939,10864,5232,39006,3148,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe63df3f0a05014e8c9932c09c5f5e8f.jpg",[],{"id":44781,"slug":44782,"title":44783,"dynasty":3235,"author":434,"museum":459,"description":44784,"tags":44785,"thumbUrl":44786,"material":808,"size":809,"collection":179,"collections":44787,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289186,"goya-crowd-in-a-park-from-images-of-spain-album-yi-ming-289186","Goya--Crowd in a Park, from Images of Spain Album","淡墨晕开远处林影，朦胧晕染出松弛的郊野底色。近处以迅疾简练的线条层叠出攒动人群，没有分毫精雕细琢，却精准抓住了俯仰谈笑的鲜活神态。\n\n潦草随性的笔触间，游园的喧闹呼之欲出，或是驻足眺望，或是围拢交谈，鲜活的市井烟火凝在笔尖。以写意速写定格下公园午后的松弛快活，带着临场般的鲜活热络，把日常游园的鲜活瞬间封存在方寸纸面之中。",[39868,114,61,16503,760,7,8254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f321c56d2f32e739e4f2f0810e4e8a.jpg",[],{"id":44789,"slug":44790,"title":44791,"dynasty":3235,"author":434,"museum":459,"description":44792,"tags":44793,"thumbUrl":44797,"material":808,"size":809,"collection":179,"collections":44798,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289141,"marcantonio-franceschini-the-birth-of-adonis-yi-ming-289141","Marcantonio Franceschini--The Birth of Adonis","这幅棕色调素描以细腻流畅的线条铺陈神话降生场景，画面中心的宁芙怀抱着初生的婴孩，身旁侍女垂首凝视，氛围静谧温柔。左侧林间萨堤洛斯悄然探窥，小天使与幼童点缀其间，为庄重场景晕开些许灵动意趣。\n\n右侧跪坐的宁芙虔敬地望向婴孩，远景山峦朦胧舒展，苍郁林木环绕周遭，将神话的神圣感融于柔和光影之中。素描以质朴质感复刻出传说里的肃穆温情，让古老神话的氛围感顺着笔意漫溢纸面。",[24736,4310,44794,6113,44795,23866,7,44796,1170,44705],"西方绘画","阿多尼斯诞生","山野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e83bef9f47f8709932f0c62b3128ae9.jpg",[],{"id":44800,"slug":44801,"title":44802,"dynasty":3235,"author":434,"museum":459,"description":44803,"tags":44804,"thumbUrl":44807,"material":808,"size":809,"collection":179,"collections":44808,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},289102,"jean-de-mosthe-ne-dugourc-figures-in-a-garden-yi-ming-289102","Jean Démosthène Dugourc--Figures in a Garden","澄澈云空晕开柔淡天光，将这片乡野园林晕染成松弛的闲雅梦境。左侧半木构小屋朴拙可爱，园丁推着独轮车与廊下绅士低语，将劳作揉进日常松弛里。\n\n围栏分隔出两处天地，露台淑女们凭栏慵坐，衣袂舒展如同揉碎的月光，把贵族式闲散融在花木清芬之间。草木枝叶晕染出深浅层次，风穿过树梢，将烟火气与优雅温柔衔接，把旧日乡居的悠然日常，定格成一首舒缓的田园小诗，处处漫溢出松弛慵懒的旧时光气息。",[3239,8252,61,2704,7,624,44805,44806,17494,69,8254],"家犬","晴空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3def321d26b1c2e1bf8d13c4dade06a.jpg",[],{"id":44810,"slug":44811,"title":44812,"dynasty":3235,"author":434,"museum":459,"description":44813,"tags":44814,"thumbUrl":44817,"material":808,"size":809,"collection":179,"collections":44818,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289099,"jean-henri-alexandre-pernet-architectural-capriccio-yi-ming-289099","Jean Henri Alexandre Pernet--Architectural Capriccio","这幅椭圆形构图的画，将怀古幽思藏在残垣之间。蚀损的古典柱廊爬覆着野藤，风化的肌理刻满时光的辙痕。中心雕像静立在泉台之上，缄默凝望这片被遗忘的旧景。\n三两行人散落其间，或围坐低语，或凭台远眺，让冷寂废墟漾开鲜活暖意。朦胧天光晕开柔淡雾色，为断壁残瓦覆上一层怀旧薄纱，将岁月的沧桑与日常的悠然融于一处，仿佛踏入被时光封存的梦境，指尖能触到旧时代残留的温柔余温。",[44741,24736,28,44815,12031,44816,61,7],"建筑废墟","雕像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5abfdb52e283776b76664df882beab8.jpg",[],{"id":44820,"slug":44821,"title":44822,"dynasty":3235,"author":434,"museum":459,"description":44823,"tags":44824,"thumbUrl":44826,"material":808,"size":809,"collection":179,"collections":44827,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289096,"jean-honore-fragonard-riverside-village-dominated-yi-ming-289096","Jean Honoré Fragonard--Riverside Village Dominated","这幅素描以柔和的明暗层次晕开河畔村落的日常。前景水岸芦苇轻摇，小舟静泊，带着渔夫归家的松弛烟火气。中景的茅草村舍朴拙错落，排线勾勒出墙面与屋顶的岁月斑驳，葱郁林木以朦胧笔触掩映其间，柔化了屋舍硬朗的轮廓。\n\n远景塔楼隐在薄雾里，晕开朦胧的悠远氛围感。没有浓烈色彩，仅以深浅织就松弛韵致，将乡野河畔的恬淡安宁揉进朦胧天色，凝固住旧时光里沉静又温柔的乡野诗意。",[24736,9939,44825,138,39006,26816,7,32,34,61],"河畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f07f7fa346032291ee2617b8ff0ba70.jpg",[],{"id":44829,"slug":44830,"title":44831,"dynasty":3235,"author":434,"museum":459,"description":44832,"tags":44833,"thumbUrl":44837,"material":808,"size":809,"collection":179,"collections":44838,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":1138},289086,"jean-laurent-legeay-architectural-fantasy-yi-ming-289086","Jean Laurent Legeay--Architectural Fantasy","赭石单色晕染出沉郁雅致的氛围，圆形构图将这片古建废墟幻想收拢成一场闭环遗梦。残损柱梁、崩坍祭坛错落崖间，左侧层叠城邦半掩在枯藤之后，右侧悬岩碑刻与悬空祭台漫着失落文明的诡谲诗意。排线晕开朦胧雾气，让断壁残垣隐在氤氲里，把怀古怅惘揉进荒寂天地。虚实交错间，破碎古典建筑织就褪色荣光的凭吊图景，静诉着时间磨蚀文明的缄默往事，颓败美感里藏着对逝去城邦的幽微追念。",[59,24736,44834,9530,44835,117,7,44836],"单色画","废墟","奇幻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a11dcf0f2b57a59f52815d4e9e76043.jpg",[],{"id":44840,"slug":44841,"title":44842,"dynasty":3235,"author":434,"museum":459,"description":44843,"tags":44844,"thumbUrl":44845,"material":808,"size":809,"collection":179,"collections":44846,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289078,"jonas-umbach-november-one-of-a-series-representing-the-labors-yi-ming-289078","Jonas Umbach--November (one of a series representing the labors","暖棕红调晕开郊野行旅的松弛日常，灵动线条勾勒出休憩的旅人图景。骑手勒马驻望天际，侍仆持枪前驱探路，猎犬逡巡脚畔，驮马垂首暂歇，将行将歇的松弛感跃然纸上。远景丘峦层叠，村舍隐在林莽间，飞鸟划破淡云天色，草木枝蔓的写意线条鲜活又蓬勃，揉合了深秋郊野的清寂与乡居烟火气。\n\n红粉笔粗粝又柔润的笔触带着速写特有的即兴鲜活，将行猎途中的片刻驻留定格为充满生活质感的一隅，仿佛能嗅见郊野草木的涩意，听见马蹄轻踏泥土地的闷响，把乡野行旅的日常诗意娓娓道来。",[24736,61,90,3314,2920,7,5232,10732,44741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4f403eb1db791c874f595516a86bd5.jpg",[],{"id":44848,"slug":44849,"title":44850,"dynasty":3235,"author":434,"museum":459,"description":44851,"tags":44852,"thumbUrl":44854,"material":808,"size":809,"collection":179,"collections":44855,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289076,"jonas-umbach-september-one-of-a-series-representing-the-labors-yi-ming-289076","Jonas Umbach--September (one of a series representing the labors","以红粉笔铺就乡野日常，线条松弛随性，晕开温柔质朴的氛围感。林间空地旁，野餐的妇孺被携鸟笼的游方艺人吸引，孩童抬手探向笼中飞鸟，左侧男子摘下满枝野果缓步走来。郊野草木舒展，归鸟掠过天际，野餐食具随意散落，将秋日乡居的悠然鲜活定格。粗粝却灵动的笔触，把邻里相逢的松弛瞬间凝在纸间，漫溢出朴质的生活暖意，将乡野闲居的松弛烟火气娓娓道来。",[24736,4310,156,7,8254,8001,1170,17494,44853],"风俗场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3ff5143ea764eb80e27900a6beb987a.jpg",[],{"id":44857,"slug":44858,"title":44859,"dynasty":3235,"author":434,"museum":459,"description":44860,"tags":44861,"thumbUrl":44862,"material":808,"size":809,"collection":179,"collections":44863,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289074,"joseph-vernet-bridge-in-the-campagna-yi-ming-289074","Joseph Vernet--Bridge in the Campagna","棕褐水色晕开郊野清晨的静穆，左侧虬曲林木枝叶层叠，浓淡笔触揉着湿润的林中风韵，牵起视线落向跨溪古桥。敦实拱券带着风雨浸淫的斑驳石痕，古朴桥身静卧浅流之上，石材质感晕染细腻，将岁月的摩挲凝于纸面。\n\n浅滩碎石错落，水面晕开朦胧倒影，远处山林以淡笔虚描，晕出松弛悠远的层次。整幅画作以干湿浓淡的水彩层次铺陈，笔触松弛鲜活，将郊野无人的安谧封存在纸间，仿佛踏入溪畔桥边，能听见浅流轻响，呼吸林间湿润的潮气，旧时光的温柔沉静漫开，将乡野闲逸的片刻定格成永恒。",[9939,13495,9050,206,477,7,2920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed155f92c30848e2496d93ba82f60538.jpg",[],{"id":44865,"slug":44866,"title":44867,"dynasty":3235,"author":434,"museum":459,"description":44868,"tags":44869,"thumbUrl":44871,"material":808,"size":809,"collection":179,"collections":44872,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":1138},289062,"karel-van-mander-a-proverb-wealth-and-poverty-yi-ming-289062","Karel van Mander--A Proverb Wealth and Poverty","两位围坐木墩的年轻人正酣然谈笑、把酒寻欢，神态松弛沉溺，满是世俗富足的闲散意态。一旁佝偻的老者赤足拄杖而立，衣衫褴褛枯瘦，目光紧锁二人，眼尾翻涌着艳羡又苦涩的怅然。\n\n这幅素描以粗粝又传神的线条铺陈开强烈的贫富对照，淡晕的墨色晕染出郊野萧瑟底色，将市井冷暖直白铺展。耽于享乐的富足与窘迫失意的困顿并置，暗讽财富催生的沉溺慵懒，也道尽贫苦者的望尘莫及，潦草鲜活的笔触将世俗世情的辛辣藏在画面里，让贫富隔阂与荒诞跃然纸上。",[61,24736,11277,688,10864,17456,5232,7,44870],"贫富","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9a0efb288fb9f2cd484967e03ce265.jpg",[],{"id":44874,"slug":44875,"title":44876,"dynasty":3235,"author":434,"museum":459,"description":44877,"tags":44878,"thumbUrl":44881,"material":808,"size":809,"collection":179,"collections":44882,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289047,"leonardo-da-vinci-allegory-on-the-fidelity-of-the-lizard-yi-ming-289047","Leonardo da Vinci--Allegory on the Fidelity of the Lizard","浅棕钢笔线条凝作圆形画框，宛如一枚封存寓言的徽章。郊野水岸旁，静坐的人物垂首敛神，蜷伏的蜥蜴依偎身侧，矮树与水泽晕开幽寂的乡野氛围。\n\n线条松弛却极具叙事感，寥寥数笔便将忠诚的隐喻揉进闲淡郊景，把抽象寓意藏进质朴的乡野小景。留白的纸面让思绪随浅淡笔触漫溢，带着文艺复兴素描独有的诗意思辨，克制的笔力裹着随性的手绘温度，简淡之下满是内敛张力。",[437,24736,44879,7,61,14595,44880],"蜥蜴","寓言","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d70d35ff303c1a75424693433df3559.jpg",[],{"id":44884,"slug":44885,"title":44886,"dynasty":3235,"author":434,"museum":459,"description":44887,"tags":44888,"thumbUrl":44890,"material":808,"size":809,"collection":179,"collections":44891,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289038,"louis-chaix-trofei-di-mario-rome-yi-ming-289038","Louis Chaix--Trofei di Mario, Rome","以蚀刻线条铺展残墟图景，半截塔楼斜刺入流云，砖石肌理被时光啃噬出皴裂缺口，藤蔓虬曲攀附断壁，将建筑残骸晕染上野趣生机。\n\n前景旅人围坐小憩，鲜活的身影破开荒颓的死寂，让古旧残墟与人间烟火温柔相融。作者以利落排线刻画出坍塌砖石的粗糙质感，用明暗层次晕开天际流云的慵懒，把岁月摧折后的怅惘，与自然悄然复生的生机揉为一处，将罗马遗迹的沉郁诗意娓娓铺陈纸面。",[24736,25827,44741,44835,9530,7,61,806,8242,44889],"荒寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a9a9d397df6a2607563ad989ec07d8.jpg",[],{"id":44893,"slug":44894,"title":44895,"dynasty":3235,"author":434,"museum":459,"description":44896,"tags":44897,"thumbUrl":44900,"material":808,"size":809,"collection":179,"collections":44901,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289029,"louis-joseph-le-lorrain-frontispiece-for-a-suite-yi-ming-289029","Louis Joseph Le Lorrain--Frontispiece for a Suite","这幅棕褐淡彩速写以古典瓮瓶为视觉核心，浮雕缠枝与人面饰纹精细典雅，稳稳镇住画面重心。郊野林木层叠掩映，石台斑驳铭文带着岁月沉迹，让庄重古物融于山野静境。前景处，旅人斜卧休憩，修士垂首祝祷，两种日常情态悄然晕开松弛又肃穆的氛围。单色素调铺陈出复古沉静的质感，把怀古幽思藏进郊野一隅，让古典庄重与乡野闲意温柔相融，漫开旧时光的沉静余韵。",[44741,44898,13495,11277,44899,7,19423,8259],"插画","古器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad183b931de9cbeac2fa50466a821f5.jpg",[],{"id":44903,"slug":44904,"title":44905,"dynasty":3235,"author":434,"museum":459,"description":44906,"tags":44907,"thumbUrl":44910,"material":808,"size":809,"collection":179,"collections":44911,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},289023,"louis-de-boullogne-the-elder-sacrifice-offered-yi-ming-289023","Louis de Boullogne the Elder--Sacrifice Offered","这幅素描以棕褐笔触铺展祭祀图景。中心祭司立于祭坛前抬手主持仪轨，祭坛青烟微动，将献祭的肃穆晕开。两侧眷属神态虔诚，或凝神注目，或垂静待礼。左侧水畔林间，裸身男女安然憩息，为庄重仪式晕开松弛逸趣。前景孩童嬉闹于阶下，柔化了祭祀的庄严感。\n\n作者线条张弛有度，精准勾勒出衣褶的垂坠柔润与人体肌理，淡墨晕染出林间光影层次，让神域图景拥有真实呼吸感，将神性仪式与俗世闲情糅合定格，尽显古典叙事绘画的沉静诗意。",[24736,61,44908,41447,5741,7,1170,11277,8254,44909],"宗教祭祀","献祭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5c9cafeec1efcaf5f8f85590d37073.jpg",[],{"id":44913,"slug":44914,"title":44915,"dynasty":3235,"author":434,"museum":459,"description":44916,"tags":44917,"thumbUrl":44918,"material":808,"size":809,"collection":179,"collections":44919,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},288826,"paula-modersohn-becker-seven-trees-yi-ming-288826","Paula Modersohn-Becker--Seven Trees","以松弛随性的炭笔线条捕捉郊野林间的生机。高挑主树以交错粗犷的排线堆叠出树冠，未作具象叶片描摹，仅以明暗块面传递枝叶蓬松质感。旁侧六株矮树错落排布，弯曲枝干带着舒展弧度，寥寥数笔便勾勒出叶片摇曳的柔姿。\n艺术家抛却精细写实的桎梏，用充满韵律的简练线条勾勒轮廓，短促排线铺陈地面起伏，将郊野晚风里林梢轻晃的松弛氛围浓缩在画面之中，以即兴随性的速写语言，把自然生机以质朴直白的方式定格，留存下独属于写生瞬间的鲜活灵动。",[24736,39868,7,8242,14666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fe1b93cbf3800ed298a41994a844c95.jpg",[],{"id":44921,"slug":44922,"title":44923,"dynasty":3235,"author":434,"museum":459,"description":44924,"tags":44925,"thumbUrl":44927,"material":808,"size":809,"collection":179,"collections":44928,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},288767,"salvator-rosa-a-large-tree-yi-ming-288767","Salvator Rosa--A Large Tree","这幅素描以苍劲古木为绝对主角，笔力带着粗粝的质感。主干盘虬扭结，如蛰伏的虬龙，将经受过岁月风霜的沧桑张力尽显无遗。作者以虚实兼具的笔法区分层次，外层叶簇用淡晕的排线晕染出蓬松朦胧的空气感，仿佛风拂过枝叶时光影在浮动，内层枝桠则以锐利硬挺的线条，精准勾勒出交错纠缠的结构，让树木筋骨分明。\n\n粗粝的根须牢牢抓附地面，把荒野古木沉浑的生命力凝于纸面，舍去多余布景，全然聚焦树木本身的野性与静穆，将自然造物的朴拙美感定格成永恒的沉静诗篇。",[24736,579,44926,7,9939,4311],"大树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363a22da69d982b931abcc2571a8d260.jpg",[],{"id":44930,"slug":44931,"title":44932,"dynasty":3235,"author":434,"museum":459,"description":44933,"tags":44934,"thumbUrl":44938,"material":808,"size":809,"collection":179,"collections":44939,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},288765,"salvator-rosa-st-paul-hermit-yi-ming-288765","Salvator Rosa--St. Paul, Hermit","幽寂荒野之中，苦修者枯长褴褛的须发与身形融为一体，肢体舒展，仿佛正迎向穿透云霭的灵启之光。晕染的墨色铺陈出诡谲翻涌的云气与虬曲苍劲的林木，明暗拉扯间烘托出沉郁肃穆的神秘张力。\n\n粗粝奔放的线条刻画出苦修者饱经风霜的沧桑模样，将其对信仰的赤诚与执念尽数揉入笔端。远山隐现的朦胧光晕晕开天启的神圣感，让荒蛮野性的自然底色，与澄澈坚定的神性感召形成强烈碰撞，潦草却极具表现力的笔触，定格下隐士在孤寂修行中迎来神性昭示的瞬间，粗朴画面里满溢着虔诚厚重的宗教氛围感。",[26244,19423,44935,44936,4310,24736,7,117,44937],"圣保禄","隐士","荒野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991396b6636bc46787f8d172983c7303.jpg",[],{"id":44941,"slug":44942,"title":44943,"dynasty":3235,"author":434,"museum":459,"description":44944,"tags":44945,"thumbUrl":44947,"material":808,"size":809,"collection":179,"collections":44948,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},288739,"sebald-beham-the-return-of-the-prodigal-son-yi-ming-288739","Sebald Beham--The Return of the Prodigal Son","跪伏的浪子攥紧父亲手腕，佝偻的脊背载满愧悔，老父倾身将掌心覆在他肩头，疼惜与释然融在微佝的身形里。旁侧乡邻或驻足侧目，或持衣静立，廊下雇工仍俯身劳作，将团圆的温热揉进日常庸常里。\n\n远景田垄里扶犁农人缓行，堡寨静立在晕开的淡墨天光中。粗粝朴拙的线条勾勒出乡野烟火，没有刻意渲染悲喜，只靠肢体拉扯与神态微末，把久别重逢的动容藏在平实乡风里，让救赎的主题随墨色缓缓铺陈，将古典叙事晕染成触手可及的俗世温情。",[26704,4310,437,44946,8387,7,5233,6616],"浪子回头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a908132d9664c4fe321ad63cc1e05a3.jpg",[],{"id":44950,"slug":44951,"title":44952,"dynasty":3235,"author":434,"museum":459,"description":44953,"tags":44954,"thumbUrl":44956,"material":808,"size":809,"collection":179,"collections":44957,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},288704,"william-trost-richards-sketchbook-of-pacific-northwest-landscape-subjects-yi-ming-288704","William Trost Richards--Sketchbook of Pacific Northwest Landscape Subjects","这幅速写以松弛排线勾勒苍劲巨木，左侧用淡晕留白晕开林间晨雾，将幽寂空濛的山野氛围铺陈开来。右侧原木小屋带着质朴烟火气，烟囱、木栏的细节描摹，让荒野拓荒的日常暖意跃然纸上。\n\n画面虚实相映，朦胧雾林与写实木屋形成巧妙反差，既刻画出古木的雄浑苍古，也以淡柔笔触晕染出林间氤氲的湿气。寥寥几笔将原始森林的清寂与人居暖意相融，仿佛能听见穿林风响，窥见避世栖居的悠然日常，简淡笔触下藏着饱满的自然诗意。",[24736,39868,9939,16621,2704,7,44955,10585],"野外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6b8f93a02995a7c20dd34d22aa609a.jpg",[],{"id":44959,"slug":44960,"title":44961,"dynasty":3235,"author":434,"museum":459,"description":44962,"tags":44963,"thumbUrl":44965,"material":808,"size":809,"collection":179,"collections":44966,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},288702,"workshop-of-ennemond-alexandre-petitot-landscape-yi-ming-288702","Workshop of Ennemond Alexandre Petitot--Landscape","棕褐蚀刻晕开沉郁哀思，线条婉转细腻，定格下肃穆的哀悼场景。垂敛羽翼的天使立于古朴石棺之侧，神情悲悯，垂首相慰跪伏恸哭的男子。石棺浮雕带着岁月厚重质感，背景林木朦胧晕染出幽寂氛围。\n\n整幅作品以简练的蚀刻笔触，将悲恸揉进古典肃穆的构图里，让哀伤在静谧的场景中缓缓流淌，细腻勾勒出人物的情绪张力，尽显古典丧葬题材特有的庄重温柔，带着纪念性绘画独有的沉郁氛围感。",[24736,11277,4310,23866,32923,7,7039,44964,44794],"哀伤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0d2475e018612840d6e3257e153842.jpg",[],{"id":44968,"slug":44969,"title":44970,"dynasty":3235,"author":434,"museum":459,"description":44971,"tags":44972,"thumbUrl":44975,"material":808,"size":809,"collection":179,"collections":44976,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},288669,"attributed-to-francesco-allegrini-cain-slaying-abel-yi-ming-288669","attributed to Francesco Allegrini--Cain Slaying Abel","这幅速写以枯棕色调铺陈，用粗犷却极具力量感的线条，定格下悲剧爆发的瞬间。扭打在一起的躯体肌肉贲张，紧绷的弧度里满是挣扎与癫狂，施暴者的动作带着原始的野蛮，将受害者的绝望困在方寸画幅中。\n\n背景草木晕染潦草朦胧，蛮荒的热带氛围为这场悲剧蒙上压抑底色。没有过多细节雕琢，即兴随性的笔触将人性撕扯下的原始残酷尽数烘托，粗粝的质感让这场暴力更具冲击力，把罪恶与绝望揉进每一道笔痕之中。",[26704,4310,24736,44973,44974,7],"神话事件","该隐杀亚伯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9f5d5981ca9c10c45765667ab01e27.jpg",[],{"id":44978,"slug":44979,"title":44980,"dynasty":3235,"author":434,"museum":459,"description":44981,"tags":44982,"thumbUrl":44983,"material":808,"size":809,"collection":179,"collections":44984,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":1138},288633,"jean-baptiste-greuze-a-farmer-entrusting-the-plow-to-his-son-yi-ming-288633","Jean-Baptiste Greuze--A Farmer Entrusting the Plow to His Son","粗粜的炭笔线条晕开郊野晨雾，苍劲林木环抱着这场庄重的托付。老父抬手殷殷嘱托，青年握定犁柄凝神颔首，身旁乡邻簇立，满含期许。左侧牛群缓行，伴着手执长鞭的吆喝，喧闹的乡野队伍把农作传承的温情悄然铺展。\n\n没有浓丽敷色，仅以明暗光影勾勒鲜活神态，将农家代际间的劳作托付揉进松弛笔触里，把乡土日常的热忱与庄重定格。粗朴的线条藏着饱满的烟火暖意，让平凡的农事交接，成为满是人情温度的隽永瞬间。",[24736,44741,4310,91,2058,7,10864,6179,8254,5403,39868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65568e933fa148c15af5dcdc8f22d40b.jpg",[],{"id":44986,"slug":44987,"title":44988,"dynasty":3235,"author":434,"museum":459,"description":44989,"tags":44990,"thumbUrl":44991,"material":808,"size":809,"collection":179,"collections":44992,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},288623,"jean-baptiste-oudry-view-in-the-gardens-of-arcueil-yi-ming-288623","Jean-Baptiste Oudry--View in the Gardens of Arcueil","这幅素描以细腻排线晕染林间光影，左侧林木与围栏错落交织，繁密叶片以疏密线条铺陈层次，将幽谧的林下氛围缓缓铺展开来。蜿蜒园路顺着视线向前延伸，尽头的铁艺门扉隐在树影朦胧间，牵引出更深邃的园林意韵。画师以精细线条勾勒皴擦树干肌理，用明暗调子区分光影边界，将林荫午后松弛静谧的氛围精准定格，仿佛能让人踏入这方园林，触摸微凉的树干，呼吸草木浸润的清新空气，沉溺在郊野花园的悠然意趣之中。",[24736,9939,694,7,5371,502,10585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8835df83b1ef58facb2679e18f1ea0b7.jpg",[],{"id":44994,"slug":44995,"title":44996,"dynasty":3235,"author":434,"museum":459,"description":44997,"tags":44998,"thumbUrl":45001,"material":808,"size":809,"collection":179,"collections":45002,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},288620,"jean-michel-moreau-the-younger-design-for-the-engraving-re-jouissances-yi-ming-288620","Jean-Michel Moreau the Younger--Design for the Engraving Réjouissances","高耸灯柱如银锋挑起点点星芒，流泻的光焰撕破夜的墨色，将这片林荫广场晕开暖融融的辉光。两侧浓荫如黛，框住这场沸腾的夜游盛事。\n\n衣香鬓影之间，贵族执盏谈笑，乐师奏起欢曲，马车碾过碎石，仆从穿行奔忙，处处漫溢松弛恣肆的欢愉。远景屋宇隐在树影里，将喧嚣妥帖拢在这片天地中。\n\n细密线条铺陈光影层次，明暗交织晕开梦幻朦胧的氛围感，将夜游狂欢的迷醉鲜活复刻，仿佛丝竹管弦混着笑语，正顺着晚风悠悠漫来。",[25827,24736,704,6598,8254,35377,760,8068,7,44999,45000],"纪念碑","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20db5833158ee2ff09a7ef1bf1e73ec9.jpg",[],{"id":45004,"slug":45005,"title":45006,"dynasty":3235,"author":434,"museum":459,"description":45007,"tags":45008,"thumbUrl":45011,"material":808,"size":809,"collection":179,"collections":45012,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},288614,"johann-jakob-frey-the-elder-leaf-from-aedes-walpolianae-mounted-yi-ming-288614","Johann Jakob Frey the Elder--Leaf from Aedes Walpolianae mounted","左幅铜版画定格休憩瞬间，圣母垂眸温柔，孩童依偎身侧，老者递上果盘，林野间光影交织，衣褶纹路细腻写实，晕开旅途暂歇的脉脉温情，为宗教题材晕染出质朴暖意。\n\n右幅红印版画则以舒展线条勾勒神话群像，众神身姿灵动舒展，暖调晕染烘托出绮丽浪漫的梦幻氛围，尽显神话题材的飘逸恣肆。\n\n两幅并置，一静一柔、一逸一绮，以两种版画语言，诠释古典叙事的双重魅力，让沉静肃穆与浪漫瑰奇在此交融共生。",[25827,26704,4310,45009,45010,17456,2570,7,37813,12030],"圣母","圣婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99d0006fabe9b0bb2e939d11d926a0b.jpg",[],{"id":45014,"slug":45015,"title":45016,"dynasty":3235,"author":434,"museum":459,"description":45017,"tags":45018,"thumbUrl":45020,"material":808,"size":809,"collection":179,"collections":45021,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},288613,"johannes-van-doetecum-the-elder-large-farm-with-draw-well-yi-ming-288613","Johannes van Doetecum the elder--Large Farm with Draw Well","这幅蚀刻版画以洗练的线条织就乡野日常。疏云漫过浅淡天际，两只飞鸟轻划开岑寂。错落的茅草农舍静立中央，石砌墙身带着朴拙肌理，窗棂与汲水井藏着细碎烟火。林木疏密有致，近旁高树舒展枝桠，远木虬枝错落，温柔框住农庄的松弛日常。创作者以细腻排线铺陈明暗，无刻板描摹，只凭蚀刻线条勾勒光影层次，将郊野的安恬定格，把乡居的闲散与静谧封存在纸面，晕开旧时光里的温柔质感。",[25827,437,10864,5232,155,7,156,45019,15578],"水井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7dbfd2a833a6798f62501a844d54021.jpg",[],{"id":45023,"slug":45024,"title":45025,"dynasty":3235,"author":434,"museum":459,"description":45026,"tags":45027,"thumbUrl":45030,"material":808,"size":809,"collection":179,"collections":45031,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},288608,"jonas-umbach-april-one-of-a-series-representing-yi-ming-288608","Jonas Umbach--April (one of a series 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书画合卷","此作为书画合璧之卷，右幅绘临水古松虬曲苍劲，朱衣士人凭松而立，静览沧波。青绿淡敷远山浅岸，浪纹层叠带着古朴和风意趣，人物形神悠然，尽显幽寂闲雅的林下之致。左侧假名书法笔势舒展流丽，墨韵与画意呼应相融，整体设色温婉古雅，晕开清寂悠远的侘寂之美，书画相映间尽显旧时风雅意趣。",[23,25,26,16356,28,61,30,26054,244,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febadd9c0467b29075d6488fc52a1c20f.jpg",[],{"id":46557,"slug":46558,"title":46559,"dynasty":3235,"author":434,"museum":459,"description":46560,"tags":46561,"thumbUrl":46562,"material":179,"size":179,"collection":179,"collections":46563,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},231693,"er-lao-tu-zhou-yi-ming-231693","二老图轴","此作以水墨写意铺就闲雅图景，淡墨晕染出郊野空寂底色，垂柳枝桠以枯笔扫就，简劲纵逸，疏疏几笔便牵惹出春日郊林的柔寂意韵。\n\n二老鬓发皤然，侧身凑首共览书卷，衣纹以顿挫简练的线条勾勒，宽袍博带的古雅身形呼之欲出，二人凝神静览，似为卷中字句沉醉，将忘机论道的悠然尽显。稚童垂手侍立身侧，更添松弛闲静。全作以少胜多，以简驭繁，淡墨氤氲间藏起林下雅集的隐逸真趣，把文人耽于文卷、寄情丘壑的雅致心境融于毫端。",[23,24,25,202,114,228,61,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc94e9be5995804e8d4ebe01e80791e08.jpg",[],{"id":46565,"slug":46566,"title":46567,"dynasty":3235,"author":434,"museum":459,"description":46568,"tags":46569,"thumbUrl":46570,"material":808,"size":809,"collection":179,"collections":46571,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":128},231634,"lian-cang-shi-dai-fa-ran-shang-ren-chuan-hua-juan-yi-ming-231634","镰仓时代 法然上人传画卷","这卷绘卷以图文合璧的形式铺陈，左畔假名笔致清丽柔婉，与右侧设色浅雅的场景彼此呼应。画师以工致界画勾勒屋舍廊宇，晕染柔和的衣袂衬出人物行止风貌，青绿淡点的草木晕开悠然禅意，将弘法开宗的历程藏进院政时代的仪礼日常里。浅赭底色晕开岁月温黄，笔底既还原中古宗教风貌，又将信仰的沉静融在叙事笔墨中，是兼具史料价值与绘艺美感的古雅长卷。",[26,28,59,119,61,62,923,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f6ca833e3178ddccc303a803f8aec7b.jpg",[],{"id":46573,"slug":46574,"title":46575,"dynasty":3235,"author":434,"museum":459,"description":46576,"tags":46577,"thumbUrl":46578,"material":808,"size":809,"collection":179,"collections":46579,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":8279},230829,"yu-zhi-mi-cang-quan-juan-di-shi-san-yi-ming-230829","禦製秘藏詮卷第十三","此作为楷书写经长卷，结体方正端稳，笔墨匀净秀雅。通篇排布齐整疏朗，字距行距错落合宜，气息庄严肃穆，尽显抄写时的恭谨虔诚。\n\n笔下笔墨凝练，笔力内敛沉稳，起收顿挫皆恪守法度，既有写经书法的典型规整意趣，又蕴含着沉静平和的禅意。墨色匀停无燥笔枯痕，将经文的肃穆内核与书法清雅气韵相融，字字端然暗含禅心，尽显古朴庄重的写经美学意韵。",[25,3586,30,7,32,41498,119,923,26,29,18604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45937a352c6a710af15a65ed9cfc3276.jpg",[],{"id":46581,"slug":46582,"title":46583,"dynasty":3235,"author":8170,"museum":459,"description":8171,"tags":46584,"thumbUrl":46587,"material":808,"size":809,"collection":179,"collections":46588,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":985},230643,"rembrandt-harmensz-van-rijn-031-lun-bo-lang-230643","Rembrandt 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静态场景承动态故事，仿佛从历史卷轴截取的一瞬，观者于雅致画风里，可感知古代帝王鉴戒故事的深沉韵味。",[24,25,28,29,59,61,62,7,70,592,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324969b0dff735e1961c9d414b77f3cf.jpg",[],{"id":47074,"slug":47075,"title":47076,"dynasty":223,"author":434,"museum":5987,"description":47077,"tags":47078,"thumbUrl":47079,"material":78,"size":179,"collection":179,"collections":47080,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},215978,"di-jian-tu-shuo-cai-hui-ben-30-yi-ming-215978","帝鉴图说彩绘本-30","画面以层叠殿宇为骨架，朱红廊柱与青绿檐角相映成趣，栏杆雕花细腻如织。上层轩廊内，人物或立或语，衣袂轻扬间似有低语流转；下层门庭前，侍卫持戟肃立，仆从躬身侍立，动静交织尽显旧时规制。笔墨温婉雅致，色彩晕染柔和，人物衣饰纹理清晰可辨，建筑细节一丝不苟。整幅画似在娓娓道来一段往昔故事，古韵流转于方寸之间，让人窥见旧时宫廷或朝堂的一角风貌，尽显传统绘画的叙事张力与审美意趣。",[24,152,28,59,29,61,62,7,70,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cf5505bef9d65bc7dd959b30ecd850.jpg",[],{"id":47082,"slug":47083,"title":47084,"dynasty":223,"author":434,"museum":5987,"description":47085,"tags":47086,"thumbUrl":47087,"material":78,"size":179,"collection":179,"collections":47088,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},215976,"di-jian-tu-shuo-cai-hui-ben-29-yi-ming-215976","帝鉴图说彩绘本-29","朱红廊柱撑起青蓝殿顶，檐角轻挑似欲揽云。阶前红袍者躬身叩拜，衣袂垂落如丹枫凝露；殿中黄裳人端坐凝听，冠带俨然藏着帝王威仪。两侧侍从垂立恭谨，眉宇间尽是肃穆。庭院里盆荷亭亭，粉蕊映翠叶；竹影疏疏，枝梢拂雕栏。笔墨细腻处，人物神态毕现——跪拜者的恳切、端坐者的沉凝，皆藏于线条流转间。雅致景致与朝堂仪轨相融，既见园林之幽，更显君臣互动之诚。绢素之上，治世图景如缓缓展开的卷册，每一处色彩、每一个姿态，都在诉说古代君臣相得的温煦与庄重。",[24,152,28,29,59,61,62,7,5330,6763],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35624bbc06ebd01362bdfa29cc205f5.jpg",[],{"id":47090,"slug":47091,"title":47092,"dynasty":223,"author":434,"museum":5987,"description":47093,"tags":47094,"thumbUrl":47095,"material":78,"size":179,"collection":179,"collections":47096,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},215974,"di-jian-tu-shuo-cai-hui-ben-33-yi-ming-215974","帝鉴图说彩绘本-33","红柱托蓝瓦，飞檐翘角间藏着殿宇的精巧。朱门前列着持械侍卫，身姿如松；后殿内数人对坐，衣袂轻扬似有议事声息。阶旁松枝苍劲，石色青润，笔墨细腻勾勒出栏杆纹路，晕染出庭院生机。色彩明丽却庄重，人物神态简而传神，每一处细节都铺陈着古代宫廷的肃穆雅致，仿佛能透过画纸，触到那君臣对语的瞬间，感受那份藏在画中的朝堂气韵与古典意趣。画中景物与人物相映成趣，既见建筑的规制严谨，也显庭院的静谧鲜活，笔墨流转间，将一段尘封的宫廷图景缓缓铺展。",[24,25,28,29,59,61,62,7,592,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6057f324f2da8d53acd2bd57c21d5c93.jpg",[],{"id":47098,"slug":47099,"title":47100,"dynasty":223,"author":434,"museum":5987,"description":47101,"tags":47102,"thumbUrl":47103,"material":78,"size":179,"collection":179,"collections":47104,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},215972,"di-jian-tu-shuo-cai-hui-ben-35-yi-ming-215972","帝鉴图说彩绘本-35","亭榭红柱彩檐，立于素雅山水间，苍松翠柏枝桠带雪，添了几分清寂。亭内数人衣袂翩然，或立或语，神态恭谨从容，似在论道议事，氛围庄重而平和。暖红与淡褐、青绿交织，既有传统建筑的明艳，又有山水的温润，层次丰富。工细写实的笔触，流畅线条搭配雅致设色，尽显清代绘本的细腻与叙事性，生动再现古代场景，仿佛能窥见彼时的人文风貌与礼仪氛围，予人古朴沉静的审美体验。",[24,29,28,59,61,62,30,7,9530,6180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F118a5fd88d82a045bcf4be33efbe9c4f.jpg",[],{"id":47106,"slug":47107,"title":47108,"dynasty":223,"author":434,"museum":5987,"description":47109,"tags":47110,"thumbUrl":47111,"material":78,"size":179,"collection":179,"collections":47112,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},215971,"di-jian-tu-shuo-cai-hui-ben-36-yi-ming-215971","帝鉴图说彩绘本-36","红柱飞檐的殿宇中，帝王端坐中央，侍从环侍左右。阶下数人或躬身呈物，或肃立待命，似在演绎治国典故。画面色彩雅致，青蓝衬朱红，显宫殿庄穆气象；线条细腻如丝，勾出建筑精巧之态与人物鲜活神态。松枝虬劲斜逸，山石叠翠生姿，布景层次分明，既有皇家威仪，又含古雅意趣。整幅画以生动场景凝缩历史智慧，细节处见匠心，将劝诫之意融于绢素之上，尽显传统绘本的艺术韵味与文化内涵。",[24,25,385,28,29,59,61,62,7,70,173,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5186f9bfd121427ff4651056c57fe3be.jpg",[],{"id":47114,"slug":47115,"title":47116,"dynasty":223,"author":434,"museum":5987,"description":47117,"tags":47118,"thumbUrl":47119,"material":78,"size":179,"collection":179,"collections":47120,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},215965,"di-jian-tu-shuo-cai-hui-ben-41-yi-ming-215965","帝鉴图说彩绘本-41","亭台轩榭错落有致，朱红廊柱与翠色瓦当相映成趣，汉白玉栏杆雕饰入微。台阶之上，数人或坐或立，衣袂翩跹，神态毕肖，似在推演治世之策；阶下红门半启，侍卫执戟而立，动静之间尽显庄重。松枝虬劲，点缀庭院，笔墨工细处见匠心，色彩明丽中藏古雅。整幅画以细腻笔触铺陈场景，人物动态与建筑规制浑然一体，既还原历史情境之真，又蕴藉传统绘画之美，于方寸间见兴衰之鉴。画面层次分明，从亭内议事到门外值守，叙事性与艺术性交织，尽显中式绘画面向历史的人文关照。",[24,29,28,59,61,62,116,7,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97e3ea7a6027c9751d54fde3bc8ff3e.jpg",[],{"id":47122,"slug":47123,"title":47124,"dynasty":223,"author":434,"museum":5987,"description":47125,"tags":47126,"thumbUrl":47127,"material":78,"size":179,"collection":179,"collections":47128,"showCount":928,"zanCount":48,"manualWeight":48,"mainColor":49},215964,"di-jian-tu-shuo-cai-hui-ben-39-yi-ming-215964","帝鉴图说彩绘本-39","朱甍碧瓦的殿宇临阶而立，飞檐翘角似欲凌云。殿内人物衣袂翩跹，或端坐议事，或侧耳倾听，神态毕肖；阶下红衣侍卫执戟而立，身姿挺拔，更添肃穆。近景苍松虬劲，枝叶如盖，远处云气氤氲，衬得亭台楼阁宛若仙境。画面设色明丽，线条工细，既见宫廷仪轨之严整，又藏自然意趣之灵动。一笔一画间，古代君臣议政的场景鲜活呈现，传统工笔彩绘的雅致与精妙尽显，仿佛能听见殿内的低语，触到阶前的清风，让观者瞬间跌入那个古雅庄重的时空。",[24,28,29,59,61,62,7,881,173,592,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2eaca064457f82eb84a7f129ac9a3b1.jpg",[],{"id":47130,"slug":47131,"title":47132,"dynasty":223,"author":434,"museum":5987,"description":47133,"tags":47134,"thumbUrl":47135,"material":78,"size":179,"collection":179,"collections":47136,"showCount":928,"zanCount"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，尽显绣艺工巧与古典山水的空灵禅意。",[24,25,30,28,27,10597,39937,243,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3abc83bbf4568113d15ad06d0c90a9b.jpg",[],{"id":47904,"slug":47905,"title":47906,"dynasty":223,"author":434,"museum":459,"description":47907,"tags":47908,"thumbUrl":47909,"material":808,"size":809,"collection":179,"collections":47910,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},272980,"zi-tan-mu-bian-hua-bo-li-ren-wu-tu-gua-ping-yi-ming-272980","紫檀木边画玻璃人物图挂屏","这是一幅外销玻璃画，以口岸通商为图景。左侧洋楼依林而立，红顶白墙带着欧式殖民建筑的异域格调，官员兵丁肃立阶前，情态俨然。右侧港湾桅樯林立，海舶静卧波心，小艇扬着旗帜穿梭其间，将远洋贸易的日常铺展开来。远景乌云翻涌，卷着气旋低垂天际，为海港晕开朦胧诡谲的氛围。\n\n画师以西洋写实技法勾勒人物船舶的细节，又以东方水墨式晕染晕开天际烟霭，将异域风物与东方意境相融。玻璃反绘的工艺让画面蒙着旧时光的柔雾，藏着开埠之初中西交汇的鲜活印记，把大航海时代的商贸日常，揉进一方挂屏中，成为文化碰撞年代的鲜活剪影。",[39955,11234,28,61,62,6046,7,1390,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe512ddef735f2c4eef598849573297b0.jpg",[],{"id":47912,"slug":47913,"title":47906,"dynasty":223,"author":434,"museum":459,"description":47914,"tags":47915,"thumbUrl":47916,"material":808,"size":809,"collection":179,"collections":47917,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":985},272979,"zi-tan-mu-bian-hua-bo-li-ren-wu-tu-gua-ping-yi-ming-272979","此作为玻璃反绘而成，镜底施绘，外以雕花木框合围。画面浪涛翻涌、烟波浩渺，苍劲古松盘绕山石，朱红亭台翼然水岸，界画工致规整。凭栏仕女衣袂轻扬，私语观浪，意态悠然闲适。缠枝卷草纹木框柔婉精致，与画面中山水古建的挺秀刚健相映成趣。\n\n整作糅合传统中式园林意境与西洋玻璃画的通透质感，将江南园囿的闲雅意趣凝于镜中，观之仿若步入水畔名园，静赏楼阁烟波里的澹澹闲情，尽显清代装饰画的别致韵味。",[39955,11234,8941,28,62,61,156,7,30,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4477944a0827983d004838a97ae6730.jpg",[],{"id":47919,"slug":47920,"title":37778,"dynasty":223,"author":434,"museum":459,"description":47921,"tags":47922,"thumbUrl":47924,"material":808,"size":809,"collection":179,"collections":47925,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},272968,"zi-tan-mu-bian-hua-fa-lang-ren-wu-tu-gua-ping-yi-ming-272968","此作取西洋洛可可情爱小景，幽林石畔，蓝衣少年手捧花束倾慕递与身旁少女，二人含情相依，侧旁隐于树后的红衣男子悄然窥视，暗生暧昧遐想。远景山峦叠翠，乡舍隐现，铺展出悠然郊野意趣。珐琅彩施色柔丽清润，衣褶起伏、花叶脉络晕染自然细腻，将欧式浪漫情愫晕融于笔底，搭配沉穆雅致的木框，中西意韵交织，尽显别致审美意趣。",[23948,8941,11234,28,4310,170,694,30,7,117,62,47923],"温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08638e00a665f7f8099383aa9fe1b77.jpg",[],{"id":47927,"slug":47928,"title":47906,"dynasty":223,"author":434,"museum":459,"description":47929,"tags":47930,"thumbUrl":47931,"material":808,"size":809,"collection":179,"collections":47932,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":985},272964,"zi-tan-mu-bian-hua-bo-li-ren-wu-tu-gua-ping-yi-ming-272964","这幅玻璃反画以细腻笔触铺就林下闲趣，老者身披素黄披帛，侧耳凝神静听，苍然神态间尽显悠然意趣。红衣童子握笛轻吹，曲调似随晚风漫过古拙山石，引得灵鹿驻足垂耳，流连不去。\n\n画面糅合西洋写实技法与东方隐逸意境，衣褶晕染柔润自然，须发肌理分毫毕现，灵鹿的皮毛纹路写实生动。背景花树朦胧晕染，将山林幽寂晕染开来，冷暖色调交织，既保留中式林下雅趣的禅意，又带着西洋光影的精致质感，把世外寻幽的静谧氛围勾勒得恰到好处，尽显东西方审美交融的别致韵味。",[39955,11234,28,61,3095,806,7,2906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b83b8ad516c2246ab47c3b878e5c12e.jpg",[],{"id":47934,"slug":47935,"title":42184,"dynasty":223,"author":434,"museum":459,"description":47936,"tags":47937,"thumbUrl":47938,"material":808,"size":809,"collection":179,"collections":47939,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},272962,"zi-tan-mu-bian-hua-bo-li-shan-shui-tu-gua-ping-yi-ming-272962","崖壁古木虬劲苍郁，半山碉楼依崖而建，崖脚亭台隐于繁荫，红衣行人驻足水岸，衬得山景愈发悠然清寂。水面红帆商船缓行，对岸城郭错落，烟霭轻笼长天。\n\n此画揉合中西意趣，以中式山水的诗意晕染留白，搭配西洋写实光影技法，柔润晕开天色水色，尽显独有风韵。将山居清雅致与江海通商的鲜活烟火相融，带着洋风浸染下的东方水乡意韵，静穆雅致间藏着江海往来的生动图景，铺展出一派平和悠远的江岸浮生。",[3239,11234,8941,28,30,32,1288,7,116,62,61,1458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb081f0797526eb5367e5f327314b49f.jpg",[],{"id":47941,"slug":47942,"title":47943,"dynasty":223,"author":434,"museum":459,"description":39970,"tags":47944,"thumbUrl":47945,"material":808,"size":809,"collection":179,"collections":47946,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},272694,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-ji-ru-huang-mo-yi-ming-272694","御制月令七十二候诗色墨-鸡乳黄墨",[5383,39972,19140,4420,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec4739b73ce60a2e5b6ac7189df4e5f.jpg",[],{"id":47948,"slug":47949,"title":47950,"dynasty":223,"author":434,"museum":459,"description":39970,"tags":47951,"thumbUrl":47952,"material":808,"size":809,"collection":179,"collections":47953,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},272692,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-cang-geng-ming-lv-mo-yi-ming-272692","御制月令七十二候诗色墨-仓庚鸣绿墨",[5383,39972,19140,30,7,64,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e88c1663f7cd15aca1177311086edf3.jpg",[],{"id":47955,"slug":47956,"title":47957,"dynasty":223,"author":434,"museum":459,"description":39970,"tags":47958,"thumbUrl":47960,"material":808,"size":809,"collection":179,"collections":47961,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},272691,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-ying-hua-wei-jiu-lv-mo-yi-ming-272691","御制月令七十二候诗色墨-鹰化为鸠绿墨",[5383,34636,27,30,156,47959,7,19140],"鸠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b8b0f88f4bce631a5927c001052015a.jpg",[],{"id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场平叛的铁血征程跃然纸上，尽显战争纪实版画的独特质感。",[29,437,118,61,30,7,32,36,243,2079,69,37,14227,28148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9741823415bd26d59844915cd4218c3.jpg",[],{"id":49347,"slug":49348,"title":14224,"dynasty":223,"author":434,"museum":459,"description":49349,"tags":49350,"thumbUrl":49351,"material":179,"size":179,"collection":179,"collections":49352,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":1138},238649,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238649","以全景式构图铺展这场战事，层叠山峦环围出厮杀战场，苍劲线条勾勒出山野村寨，将烽烟肃杀的氛围尽数烘托。\n画面里兵马缠斗不休，有人奔溃逃窜，有人死战不退，檐角边硝烟暗涌，远景的兵卒动向、近前的搏杀细节皆刻画入微，将平疆战事的壮烈紧张全然还原。右上角题诗呼应此战功勋，让纪实叙事染上沉郁厚重的史诗感，既以精妙的线条功力展现古典绘事章法，又留存下详实的战事细节，兼具审美价值与史料意义，将边陲平叛的铁血过往凝于尺幅之间。",[29,437,118,11574,385,61,90,30,7,69,117,74,35,28148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cdcdce13eafa566f486359db7dcdf3.jpg",[],{"id":49354,"slug":49355,"title":14224,"dynasty":223,"author":434,"museum":459,"description":49356,"tags":49357,"thumbUrl":49358,"material":179,"size":179,"collection":179,"collections":49359,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},238648,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238648","全景式构图铺展浩荡战事，远山层叠河谷蜿蜒，将清军列阵行军、攻坚平叛的场景错落排布。左侧题笺点明战事背景，画面前方将领挥斥策马，甲士阵列严整肃然，右侧战场烽烟翻涌，短兵相接的厮杀仿佛声闻于耳。画作以精细线描勾勒出山峦苍劲质感，将士甲胄衣袂细节分毫毕现，既兼具传统界画的工致写实，又糅合西洋铜版画明暗层次，精准还原平乱战事的宏大意象，将行伍整肃、攻坚激烈与山野雄浑融为一体，笔墨间承载纪实叙事的厚重，尽显清代战史图绘的严谨表现力。",[24,29,114,118,385,61,90,30,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4cc8d1034d51c633c0775814fa4e48.jpg",[],{"id":49361,"slug":49362,"title":14224,"dynasty":223,"author":434,"museum":459,"description":49363,"tags":49364,"thumbUrl":49365,"material":179,"size":179,"collection":179,"collections":49366,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},238647,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238647","以全景视角铺展苗疆崇山险壑，山道间清军策马挺进，远处营寨森然列阵，将平叛行军的肃杀氛围淋漓呈现。画面线条凌厉精细，山石皴刻尽显地势陡绝，既还原了山地平叛的艰险，也刻画出清军整肃军容。右上方题诗与图景呼应，笔墨载录克捷之功，将纪实叙事与军功宣扬融为一体，以画笔复刻王朝征伐史事，带着厚重的纪史质感。",[24,25,29,114,118,119,30,61,90,243,7,62,3315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff94fcd4e79e8f17638699ba5ca75a71b.jpg",[],{"id":49368,"slug":49369,"title":14224,"dynasty":223,"author":434,"museum":459,"description":49370,"tags":49371,"thumbUrl":49372,"material":179,"size":179,"collection":179,"collections":49373,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},238646,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238646","这幅全景式战图以硬朗的铜版画排线刻绘层叠险峰，山道河谷间兵勇整列挺进，隘口烽烟暗起，将平叛行军的肃杀紧迫铺陈开来。左上题字以规整小楷详述战事经纬，图文相映，兼顾舆图纪实性与叙事画感染力。\n\n山石皴擦利落刚劲，精准勾勒出西南山地的峭拔险峻，将士甲胄旌旗细节分明，把行军威仪刻画得详实入微。画面冷峻克制，以纪实笔触定格边地平叛的历史瞬间，承载着军功纪实的肃穆厚重。",[24,385,29,118,30,61,90,3315,117,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6c1738edbffd432d53460f49927ba1.jpg",[],{"id":49375,"slug":49376,"title":14224,"dynasty":223,"author":434,"museum":459,"description":49377,"tags":49378,"thumbUrl":49379,"material":179,"size":179,"collection":179,"collections":49380,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},238645,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238645","这幅纪实铜版画以全景式构图铺展平叛鏖战全貌。远山烽烟翻涌，村寨壁垒森然，清军步骑协同突进，与敌短兵相接。画面疏密得宜，线条劲挺工细，将人马错杂的厮杀场景精细摹刻，士卒或死战不退，或仆地挣扎，神态动作各有其态，硝烟裹挟着肃杀之气扑面而来。\n它以冷峻纪实的刀笔留存战地实景，将冷兵器时代平叛战事的惨烈壮阔凝于尺幅，既是对一役战事的鲜活复刻，也尽显清代战争版画兼具史料价值与艺术表现力的独特质感。",[565,29,14526,118,385,61,90,243,7,5371,62,28148,3315,244,30652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058bdfc4b39bc9702a2ce3018e703267.jpg",[],{"id":49382,"slug":49383,"title":14224,"dynasty":223,"author":434,"museum":459,"description":49384,"tags":49385,"thumbUrl":49386,"material":808,"size":809,"collection":179,"collections":49387,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238643,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238643","以刀代笔，以铜为纸，嶙峋喀斯特山峦层叠铺展，栈道盘绕危崖，尽现苗疆蛮荒天险。画面左下方清军将士策马奔袭，甲胄兵刃的细节皆以细密排线勾勒区分明暗，分毫毕现。\n\n全景式构图纵伸开山地战场，既还原了清军穿行险境平叛的临场实景，又以冷峻的线刻技法，将纪实叙事与版画工艺相融。右侧御题诗文点明战事功绩，刀痕墨影间藏着对平苗战事的细致描摹，带着清代纪实版画特有的官方叙事底色，将军功纪实与山水刻画技法精妙结合，兼具历史纪实价值与美术造诣。",[24,385,29,118,114,30,61,90,7,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23738bc699cbc6624de1816ca357b3d2.jpg",[],{"id":49389,"slug":49390,"title":14224,"dynasty":223,"author":434,"museum":459,"description":49391,"tags":49392,"thumbUrl":49393,"material":808,"size":809,"collection":179,"collections":49394,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},238642,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238642","全景铺展苗疆奇崛山势，以三段式叙事织就战事全貌。左上栈道奇兵衔枚疾行，右下崖谷短兵相接，中军营帐前主帅按辔点兵，错落排布让战场层次分明。\n\n铁线勾勒山石肌理，皴擦晕染间尽显崖壁苍劲质感，将士甲胄纹路、猎猎旌旗褶皱分毫毕现，把山地征伐的肃杀凝于纸面。冷峻纪实的笔触复刻出战事细节，将平乱攻坚的紧迫与雄浑定格，兼具历史实录的厚重与工笔画的精妙。",[29,437,11574,385,61,90,3315,30,244,7,426,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269dec5135978c2d6c2741c894d13b17.jpg",[],{"id":49396,"slug":49397,"title":17950,"dynasty":223,"author":434,"museum":459,"description":49398,"tags":49399,"thumbUrl":49400,"material":179,"size":179,"collection":179,"collections":49401,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":1138},238639,"ping-ding-an-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深远空间感。山间亭台掩映于松荫之下，古木虬枝添几分苍劲。题款错落分布于峰峦幽谷，笔墨与山川相映成趣，隐现文人寄情山水的雅致。整体画风清逸，意境幽远，既展现自然山川的雄浑之美，又蕴含人文意趣的温润质感，似可窥见古人对名山胜景的向往与描摹。",[24,25,437,30,341,19047,7,62,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22efdb52057a6e8e11ec555f4ef41ebb.jpg",[],{"id":50515,"slug":50516,"title":50517,"dynasty":223,"author":434,"museum":459,"description":50518,"tags":50519,"thumbUrl":50520,"material":303,"size":179,"collection":179,"collections":50521,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},215609,"tian-xia-ming-shan-tu-15-yi-ming-215609","天下名山图-15","画面以白描织就山水清韵，左幅烟波浩渺，远山如黛层叠向云际，水纹细劲似鳞，漾开一片空寂；右幅峭壁嶙峋，皴笔如斧劈石骨，几处楼宇嵌于翠嶂间，古木虬枝斜出，藏着烟火与禅意。疏密线条勾勒虚实相生之境，远山的淡墨晕染与近石的刚劲笔触相映，静水的留白与峻岭的密线交织。极简笔墨里透出名山的雄浑与灵秀，似能闻山风穿林、水声拍岸，引观者步入那片悠远清旷的天地，触摸岁月沉淀的山水情怀。",[24,25,385,437,59,30,62,31,7,244,342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7152fb149bafa97c5505e4e0064a66a.jpg",[],{"id":50523,"slug":50524,"title":50525,"dynasty":223,"author":434,"museum":459,"description":50526,"tags":50527,"thumbUrl":50528,"material":303,"size":179,"collection":179,"collections":50529,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},215608,"tian-xia-ming-shan-tu-14-yi-ming-215608","天下名山图-14","笔墨勾勒的峰峦如剑戟般刺破云霭，线条如流水游走于山石肌理间，皴擦点染藏着草木的低语。近景峭壁纹理清晰，似能触到岩石冷硬；中景山势层叠，隐现的屋宇漏出人间烟火；远景云气缭绕，将天地连成浩渺一片。整幅画以线为骨、以意传神，静穆中透着山河壮阔，仿佛能听见山风穿峡的回响，看见云雾在峰尖缓缓流动。每一笔都凝着对自然的敬畏，把名山的雄奇与灵秀收于尺幅，让观者心随画游，沉醉在这片笔墨构筑的山水秘境里。",[24,25,437,30,341,881,7,501,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94287d078c1957cca19cd0f5038dfe0d.jpg",[],{"id":50531,"slug":50532,"title":50533,"dynasty":223,"author":434,"museum":459,"description":50534,"tags":50535,"thumbUrl":50536,"material":303,"size":179,"collection":179,"collections":50537,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},215607,"tian-xia-ming-shan-tu-18-yi-ming-215607","天下名山图-18","这幅白描山水以清劲婉转的线条勾勒天地丘壑。奇峰罗列，或陡峭如削，或层叠如垒，山间林木葱茏，松枝苍劲、杂树扶疏，姿态各显生机。左下角亭台隐于林麓，与自然景致相融；溪流蜿蜒穿涧而过，添几分灵动韵致。笔墨简练却意韵丰厚，构图开合有致，远近层次分明，咫尺间见千里之势。峰峦的雄浑与草木的纤秀相映，静岩与流泉相衬，尽显山川灵秀与人文意趣，于素净线条中藏天地大美。",[24,25,437,30,117,7,62,64,38,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205d74ceaf9020f3503fd62295d027ec.jpg",[],{"id":50539,"slug":50540,"title":50541,"dynasty":223,"author":434,"museum":459,"description":50542,"tags":50543,"thumbUrl":50544,"material":303,"size":179,"collection":179,"collections":50545,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},215606,"tian-xia-ming-shan-tu-17-yi-ming-215606","天下名山图-17","笔墨轻挥间，山水之韵徐徐铺展。前景溪流蜿蜒，岸线层叠，水纹细劲如丝，似有潺潺声入耳。中景坡地起伏，林木疏密有致，几椽屋舍隐于其间，添了烟火气却不失清幽。背景山峦巍峨，轮廓刚劲含柔，山间留白若云雾缭绕，将远岫的深邃悄然晕开。线条简练却见功底，皴擦点染皆合章法，简淡中藏深远，平实处生奇趣。整幅画如无声的山水诗，把自然静谧与人文闲适融于尺幅，引人入胜，心生向往。",[152,24,25,385,437,114,118,30,7,500,2695,244,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7b0bab5cf9e908df16329dcb37bf07.jpg",[],{"id":50547,"slug":50548,"title":50549,"dynasty":223,"author":434,"museum":459,"description":50550,"tags":50551,"thumbUrl":50552,"material":303,"size":179,"collection":179,"collections":50553,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},215605,"tian-xia-ming-shan-tu-13-yi-ming-215605","天下名山图-13","线痕勾勒层峦脉络，皴擦间藏山石苍劲肌理。云雾似轻纱漫过峰巅，晕染出远近丘壑的虚实层次。山顶亭台隐于云霭，如遗落的仙踪；林麓溪涧藏于深谷，似有潺潺声入耳。细密笔触铺展林木，葱茏间透着生机；劲挺线条刻画石崖，嶙峋中显风骨。整幅画以线为骨，以意传神，凝名山雄浑与灵秀于一纸。静穆里带着悠远气息，仿佛牵引观者踏入烟霞深处，尽览丘壑间的万千意趣——山石的沉稳、云雾的轻盈、草木的鲜活，皆在笔墨流转中，化作可感的山水诗行。",[24,25,437,118,30,341,881,7,342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd8394b00c27a1825ce9e44ffccd130e.jpg",[],{"id":50555,"slug":50556,"title":50557,"dynasty":223,"author":434,"museum":459,"description":50558,"tags":50559,"thumbUrl":50560,"material":303,"size":179,"collection":179,"collections":50561,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},215604,"tian-xia-ming-shan-tu-22-yi-ming-215604","天下名山图-22","奇峰嵯峨，层峦叠嶂间云气氤氲，烟岚如轻纱漫卷。山坳隐现亭台，与嘉木相映成趣；山麓城墙蜿蜒，门楼古朴，藏岁月沧桑。笔墨以线描为骨，勾勒精准利落，山石皴法简洁有致，简练中见丘壑之深。云雾柔润与山石硬朗相衬，动静相宜，尽显山川雄浑与灵秀。意境清幽旷远，引观者步入烟霞深处，听松涛阵阵，观云卷云舒，心随山水静，意与天地悠。",[24,437,30,385,62,7,156,63,64,341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269afc58a44f0e1e03b8848a437d5522.jpg",[],{"id":50563,"slug":50564,"title":50565,"dynasty":223,"author":434,"museum":459,"description":50566,"tags":50567,"thumbUrl":50568,"material":303,"size":179,"collection":179,"collections":50569,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},215600,"tian-xia-ming-shan-tu-24-yi-ming-215600","天下名山图-24","笔墨勾勒间，层峦叠嶂自左铺展，峰崖错落如剑戟横空，皴法细密处见山石肌理，苍劲中藏秀逸。山脚下林木扶疏，几株古松枝干虬劲，掩映着茅舍隐现，石径蜿蜒间，一隐士凭石而坐，似与山光对语，野趣盎然。右侧云气氤氲，淡墨晕染出烟波浩渺，远处楼阁半藏于雾霭，恍若仙境浮于尘世。整幅画面虚实相生，近景的真切与远景的缥缈相映成趣，将山水之雄浑与文人之雅意融于一纸，观之如临溪山深处，心随云卷云舒，顿生旷远之思。",[24,437,118,30,31,7,244,64,63,116,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09ca8330c953affc3651f81a97b60ad8.jpg",[],{"id":50571,"slug":50572,"title":50573,"dynasty":223,"author":434,"museum":459,"description":50574,"tags":50575,"thumbUrl":50576,"material":303,"size":179,"collection":179,"collections":50577,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":128},215599,"tian-xia-ming-sh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